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ecofilms06
RODOS INTERNATIONAL FILM AND VISUAL ARTS FESTIVAL
¢π∂£¡∂™ º∂™∆πµ∞§ ∫π¡∏ª∞∆√°ƒ∞º√À ∫∞π ∂π∫∞™∆π∫ø¡ ∆∂áø¡ ƒ√¢√À
20
25
IOYNIOY
JUNE
°ÈÒÚÁÔ˜ °È·ÓÓfiÔ˘ÏÔ˜, ¢‹Ì·Ú¯Ô˜ ƒÔ‰›ˆÓ
Yiorgos Giannopoulos, Mayor of Rodos
∆Ô Ecofilms ·ÔÙÂÏ› ¤Ó· ÌÔÓ·‰ÈÎfi ÛÙÔ Â›‰Ô˜ ÙÔ˘, ÛÙËÓ ÂÚÈÔ¯‹ Ù˘ ªÂÛÔÁ›Ԣ, ıÂÌ·ÙÈÎfi ºÂÛÙÈ‚¿Ï Ù·ÈÓÈÒÓ Ô˘ ·Ó·Ê¤ÚÔÓÙ·È ÛÙË
Û¯¤ÛË ÙÔ˘ ·ÓıÚÒÔ˘ Ì ÙÔ ÂÚÈ‚¿ÏÏÔÓ, ÚÔ‚¿ÏÏÔÓÙ·˜ ÌÈ· ÛÂÈÚ¿ Ù·ÈÓÈÒÓ Î·È ÓÙÔÎÈÌ·ÓÙ¤Ú Ô˘ ηٷÁÚ¿ÊÔ˘Ó Ì¤Û· ·fi ÙË ‰È΋
ÙÔ˘˜ ÌÔÓ·‰È΋ ÛÎËÓÔıÂÙÈ΋ Ì·ÙÈ¿ ÙËÓ ÔχÏ¢ÚË ·˘Ù‹ Û¯¤ÛË.
™‹ÌÂÚ· Ô˘ Ô ¿ÓıÚˆÔ˜ ¤¯ÂÈ Î·Ù·Ê¤ÚÂÈ Ó· ˆı‹ÛÂÈ ÙÔ ÂÚÈ‚¿ÏÏÔÓ, Ê˘ÛÈÎfi Î·È ‰ÔÌË̤ÓÔ, ÛÙ· fiÚÈ· ÙÔ˘ Ù· Û‡Á¯ÚÔÓ· ÂÚÈ‚·ÏÏÔÓÙÈο ÚÔ‚Ï‹Ì·Ù· ·ÔÙÂÏÔ‡Ó ÌÈ· ·ÁÎfiÛÌÈ· ·ÂÈÏ‹. ™‹ÌÂÚ· Ô˘ ÙÔ ·›ÙËÌ· ÁÈ· ·ÂÈÊfiÚÔ ·Ó¿Ù˘ÍË Ì Û‚·ÛÌfi ÛÙÔ ÂÚÈ‚¿ÏÏÔÓ
Î·È ÙÔÓ ¿ÓıÚˆÔ Â›Ó·È ÈÔ Â›Î·ÈÚÔ ·fi ÔÙ¤, Ë ÂÚÈ‚·ÏÏÔÓÙÈ΋ ¢·ÈÛıËÙÔÔ›ËÛË Ù˘ ÎÔÈÓˆÓ›·˜ ÙˆÓ ÔÏÈÙÒÓ ‰ÂÓ Â›Ó·È ··ÈÙÔ‡ÌÂÓÔ ·ÏÏ¿ Ê˘ÛÈÎfi ÂfiÌÂÓÔ. ∫·Ó›˜ ‰ÂÓ ¤¯ÂÈ ‰Èη›ˆÌ· Ó· ÈÛÙ‡ÂÈ fiÙÈ Ë ÙÚ‡· ÙÔ˘ fi˙ÔÓÙÔ˜, ÙÔ Ê·ÈÓfiÌÂÓÔ ÙÔ˘ ıÂÚÌÔÎË›Ô˘, Ë Ú‡·ÓÛË ÙˆÓ ı·Ï·ÛÛÒÓ, Ë Î·Ù·Û·Ù¿ÏËÛË Î·È ˘Ô‚¿ıÌÈÛË ÙˆÓ ˘‰¿ÙÈÓˆÓ fiÚˆÓ, Ë Î·Ù·ÛÙÚÔÊ‹ ÙˆÓ ‰·ÛÒÓ, Ë ÂÍ·Ê¿ÓÈÛË ÙˆÓ ˙ˆÈÎÒÓ
Î·È Ê˘ÙÈÎÒÓ ÂȉÒÓ, ·ÊÔÚ¿ οÔÈ· ¿ÏÏË ÂÚÈÔ¯‹ Î·È fi¯È Î·È ÙË ‰È΋ ÙÔ˘. ∏ ·˘ÍË̤ÓË ¤ÎÏ˘ÛË ·¤ÚÈˆÓ Ú‡ˆÓ ÛÙȘ ·ÓÂÙ˘Á̤Ó˜ ÂÚÈÔ¯¤˜ ÂÈÙ·¯‡ÓÂÈ ÙËÓ ÎÏÈÌ·ÙÈ΋ ·ÏÏ·Á‹ Û fiÏÔ ÙÔÓ ÎfiÛÌÔ. ∏ ·ÏfiÁÈÛÙË ¯Ú‹ÛË ÙˆÓ ¯ÏˆÚÔÊıÔÚ·ÓıÚ¿ÎˆÓ ÂÈ‚·Ú‡ÓÂÈ ÙË ÛÙÔÈ‚¿‰·
ÙÔ˘ fi˙ÔÓÙÔ˜, ÌÂÙ·ÙÚ¤ÔÓÙ·˜ ÙÔ ıÂ̤ÏÈÔ Ù˘ ˙ˆ‹˜ Û ·˘ÙfiÓ ÙÔÓ Ï·Ó‹ÙË, ÙÔÓ ‹ÏÈÔ, Û ÛȈËÏfi ¯ıÚfi. ∏ ÙÚ·ÁÈ΋ ·Ó¢ı˘ÓfiÙËÙ· ÙˆÓ
¯ÂÈÚÈÛÙÒÓ ÙÔ˘ ·ÓÙȉڷÛÙ‹Ú· ÙÔ˘ ∆ÛÂÚÓÔÌ›Ï, ·Ê·›ÚÂÛ ‹ ÛËÌ¿‰Â„ ÙË ˙ˆ‹ ÂηÙÔÌÌ˘Ú›ˆÓ ·ÓıÚÒˆÓ Û ÔÏfiÎÏËÚË ÙËÓ ∂˘ÚÒË
Î·È ÙËÓ ∞Û›·.
∏ ÎÔÈÓˆÓ›· ÙˆÓ ÔÏÈÙÒÓ ‰ÂÓ ¤¯ÂÈ ¿ÏÏÔ ÙÚfiÔ Ó· ·ÓÙȉڿÛÂÈ Û fiÏ· ·˘Ù¿, ·Ú¿ Ì ÙËÓ ÂÊ·ÚÌÔÁ‹ ÙÔ˘ Û˘Óı‹Ì·ÙÔ˜ «ÛΤ„Ô˘ ÙË ÁË,
‰Ú¿Û ÙÔÈο». ∆Ô Ecofilms, ·ÔÙÂÏ› ¤Ó· ‚‹Ì· ÚÔ‚ÔÏ‹˜ ÙÔ˘ ÚÒÙÔ˘ ÛΤÏÔ˘˜ ÙÔ˘ Û˘Óı‹Ì·ÙÔ˜, ÙÔ «ÛΤ„Ô˘ ÙË ÁË», Ì ÙËÓ Î·ÏÏÈÙ¯ÓÈ΋ Ì·ÙÈ¿ ÙˆÓ ·ÓıÚÒˆÓ Ô˘ ·Û¯ÔÏÔ‡ÓÙ·È Ì ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ Û fiÏÔ ÙÔÓ ÎfiÛÌÔ. ∞ÔÙÂÏ› ¤Ó· ÌÔÓ·‰ÈÎfi ÚÔÓfiÌÈÔ ÁÈ·
ÙËÓ fiÏË Ì·˜ 115 Ó¤ÔÈ Î·È ·Ó·ÁÓˆÚÈṲ̂ÓÔÈ ÛÎËÓÔı¤Ù˜ ·fi 39 ¯ÒÚ˜, Ó· ¤¯Ô˘Ó ·Ó·Ï¿‚ÂÈ Ó· Ì·˜ ‚ÔËı‹ÛÔ˘Ó Ó· Û˘ÓÂȉËÙÔÔÈËıÔ‡ÌÂ, ÒÛÙ ӷ ‰Ú¿ÛÔ˘Ì ÙÔÈο Û˘Ì‚¿ÏÏÔÓÙ·˜, ˆ˜ ÂÓÂÚÁÔ› Ôϛ٘, ÛÙÔ ·ÁÎfiÛÌÈÔ ÂÚÈ‚·ÏÏÔÓÙÈÎfi ΛÓËÌ·.
°Èã·˘Ùfi, Ô ¢‹ÌÔ˜ ƒÔ‰›ˆÓ, ÔÈ √ÚÁ·ÓÈÛÌÔ› ÙÔ˘ Î·È ÔÈ Ôϛ٘ Ù˘ ƒfi‰Ô˘, ·fi ÙËÓ ÚÒÙË ÛÙÈÁÌ‹ ·ÁηÏÈ¿Û·Ì ÙÔ ÊÂÛÙÈ‚¿Ï Ù˘ fiÏ˘
Ì·˜ Ô˘ Û˘Ó¯Ҙ ‰ËÌÈÔ˘ÚÁ› ÂÚÈÛÛfiÙÂÚÔ˘˜ ÈÛÙÔ‡˜ Û fiÏÔ ÙÔÓ ÎfiÛÌÔ.
∂Π̤ÚÔ˘˜ fiÏˆÓ Ì·˜ ÛÙË ƒfi‰Ô ηψÛÔÚ›˙ˆ ÙÔ˘˜ Û˘ÌÌÂÙ¤¯ÔÓÙ˜ ÙÔ˘ Ecofilms, Î·È Â‡¯ÔÌ·È Î¿ı ÂÈÙ˘¯›· ÛÙÔ ‰ÈÂıÓ¤˜ ÊÂÛÙÈ‚¿Ï Ù˘
fiÏ˘ Ì·˜.
Ecofilms is the only festival of its kind in the Mediterranean, a thematic festival of films focusing on the relationship between man
and the environment, presenting a series of films and documentaries that record this multifaceted relationship through their
own point of view.
Nowadays, that man has managed to push the environment, both natural and artificial, to its limits, current environmental problems become a global threat. Nowadays, that the demand for sustainable development respecting the environment and
mankind is more apropos than ever before, raising environmental awareness to the citizen’s society is not a demand but a natural consequence. No one has the right to believe that the ozone layer, global warming, sea pollution, water recourses’ squander
and downgrade, forest destruction, fauna and flora extinction, concern some other place and not one’s own. The increase in air
pollution in developed areas accelerates the change of the climate globally. The thoughtless use of chlorine-fluorine-carbonates
burdens the ozone layer, turning the very foundation of life on this planet, the sun, into a silent enemy. The tragic irresponsibility
of the operators of the Chernobyl reactor, took or scarred the lives of millions all over Europe and Asia.
The citizen’s society has no other way to react to all this, but to implement the motto "think globally, act locally". Ecofilms offers a
view of the first part of the motto, of "think globally", through the artistic point of view of people associated with film all over the
world. It’s a unique privilege for our city that 115 young and well known directors from 39 countries have undertaken the task of
helping us understand, so that we can act locally contributing as active citizens to the global environmental movement.
Therefore, the Municipality of Rodos, its Organizations and the citizens of Rodos embraced from the very beginning our city’s
festival that continues creating more followers all over the world.
On behalf of everyone in Rodos, I welcome all participants of Ecofilms and wish all the luck to our city’s international festival.
ECOFILMS
ƒ√¢√™
2006
RODOS
3
°ÈÒÚÁÔ˜ µÔ˘ÏÁ·Ú¿Î˘, ÀÔ˘ÚÁfi˜ ¶ÔÏÈÙÈÛÌÔ‡
Yorgos Voulgarakis, Minister of Culture
™Ù·‡ÚÔ˜ ∫·ÏÔÁÈ¿ÓÓ˘, ÀÊ˘Ô˘ÚÁfi˜ ¶∂Ãø¢∂
Stavros Kalogiannis, Deputy Minister
for the Environment, Physical Planning and Public Works
√ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ ˆ˜ ηْ ÂÍÔ¯‹Ó Ù¤¯ÓË ·Ó··Ú¿ÛÙ·Û˘ ÙÔ˘ ÎfiÛÌÔ˘ Î·È ÙˆÓ ·ÓÙÈÏ‹„ÂÒÓ Ì·˜ ÁÈ’ ·˘ÙfiÓ, ‰ÂÓ ı· ÌÔÚÔ‡Û ӷ ÌËÓ Î·Ù·È·ÛÙ› Î·È Ó· ÌÂÏÂÙ‹ÛÂÈ ÙË Û¯¤ÛË ·Ó¿ÌÂÛ· ÛÙÔÓ ¿ÓıÚˆÔ Î·È ÙË
ʇÛË.
∏ Œ‚‰ÔÌË ∆¤¯ÓË ÌÔÚ› Ó· ·Ó·‰Â›ÍÂÈ ÙË ÛËÌ·Û›· ÙÔ˘ Ê˘ÛÈÎÔ‡ ÂÚÈ‚¿ÏÏÔÓÙÔ˜, ÙÔÓ›˙ÔÓÙ·˜ ·Ú¿ÏÏËÏ· fiÙÈ Ë ÂÚÈ‚·ÏÏÔÓÙÈ΋ ÚÔÛÙ·Û›·
Â›Ó·È ‚·ÛÈ΋ Û˘ÓÈÛÙÒÛ· ÙÔ˘ Û‡Á¯ÚÔÓÔ˘ ÔÏÈÙÈÛÌÔ‡.
√È Ù·Èӛ˜ Ô˘ ÚÔ‚¿ÏÏÔÓÙ·È ÛÙÔ Ecofilms ·Ô‰ÂÈÎÓ‡Ô˘Ó fiÙÈ ÙÔ ÊÂÛÙÈ‚¿Ï ÏÂÈÙÔ˘ÚÁ› ˆ˜ ÊÔÚ¤·˜ ÂÓË̤ڈÛ˘ Î·È Â˘·ÈÛıËÙÔÔ›ËÛ˘ fiψÓ
Ì·˜ ·¤Ó·ÓÙÈ ÛÙÔ ÂÚÈ‚¿ÏÏÔÓ.
∫˘Ú›·Ú¯Ô Ì‹Ó˘Ì· Â›Ó·È fiÙÈ ÂÌ›˜, ÔÈ ¿ÓıÚˆÔÈ, ÔÊ›ÏÔ˘Ì ӷ Û˘ÌÂÚÈÊÂÚfiÌ·ÛÙ ÛÙË Ê‡ÛË Ì Û‚·ÛÌfi, ̤ÙÚÔ Î·È Û‡ÓÂÛË.
∆Ô ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡ ÛÙ¿ıËΠ¿ÓÙ· ·ÚˆÁfi˜ ÙÔ˘ Ecofilms ·fi
ÙËÓ ÚÒÙË ÛÙÈÁÌ‹ Ù˘ ›‰Ú˘Û‹˜ ÙÔ˘, Î·È ÂÍ·ÎÔÏÔ˘ı› Ó· ÙÔ ÂÓÈÛ¯‡ÂÈ, ËıÈο Î·È ˘ÏÈο, ıˆÚÒÓÙ·˜ ˆ˜ ·ÔÙÂÏ› ¯ÒÚÔ Ô˘ÛÈ·ÛÙÈÎÔ‡ ‰È·ÏfiÁÔ˘
·Ó¿ÌÂÛ· ÛÙËÓ Ù¤¯ÓË Î·È ÙË Ê‡ÛË, ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ Î·È ÙËÓ ·ÁˆÓ›·
ÁÈ· ÙËÓ Ù‡¯Ë ÙÔ˘ Ï·Ó‹ÙË Ì·˜.
∂ÎÊÚ¿˙ˆ ÙȘ ¢¯¤˜ ÌÔ˘ ÁÈ· ÂÈÙ˘¯›·.
°È· ‰Â‡ÙÂÚË Û˘Ó¯‹ ¯ÚÔÓÈ¿, ÙÔ ÀÔ˘ÚÁÂ›Ô ¶ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ÈÚÔÙ·Í›·˜ Î·È ¢ËÌÔÛ›ˆÓ ŒÚÁˆÓ ı¤ÙÂÈ ˘fi ÙËÓ ·ÈÁ›‰· ÙÔ˘ ÙË ‰ÈÔÚÁ¿ÓˆÛË ÙÔ˘ ÊÂÛÙÈ‚¿Ï
∂cofilms. ∏ 3Ë ¯ÚÔÓÈ¿ ‰ÈÔÚÁ¿ÓˆÛ˘ ÂÓfi˜ ÛËÌ·ÓÙÈÎÔ‡ ÁÂÁÔÓfiÙÔ˜ fiˆ˜ ÙÔ
Ecofilms ÛËÌ·ÙÔ‰ÔÙ› ÙË ÏÂÈÙÔ˘ÚÁ›· ÙÔ˘ ˆ˜ ıÂÛÌÔ‡ Ô˘ ÚÔÛÂÏ·ÂÈ ÌÂÁ¿ÏÔ ·ÚÈıÌfi ‰ËÌÈÔ˘ÚÁÒÓ ·fi fiÏÔ ÙÔÓ ÎfiÛÌÔ. ¶ÚÔÛÂÏ·ÂÈ Â›Û˘ ¤Ó· ‰È·ÚÎÒ˜ ·˘Í·ÓfiÌÂÓÔ ÎÔÈÓfi Ô˘ ·Ó·˙ËÙ¿ ‰È·ÊÔÚÂÙÈΤ˜ ÚÔÛÂÁÁ›ÛÂȘ ¿Óˆ Û ı¤Ì·Ù· Ô˘ ¤¯Ô˘Ó Ó· οÓÔ˘Ó Ì ÙËÓ ˙ˆ‹, ÙȘ Ê˘ÛÈΤ˜ Î·È ÎÔÈÓˆÓÈΤ˜ ·Í›Â˜, Ù· ÌÂÁ¿Ï· ÚÔ‚Ï‹Ì·Ù· ÙÔ˘ Ï·Ó‹ÙË. ∆Ô ÊÂÛÙÈ‚¿Ï ‰›ÓÂÈ ÙË ‰˘Ó·ÙfiÙËÙ· ÛÙÔ ÎÔÈÓfi Ô˘ Û˘ÌÌÂÙ¤¯ÂÈ Ó· ÚÔ‚ÏËÌ·ÙÈÛÙ›, Ó· Û˘˙ËÙ‹ÛÂÈ Î·È Ó· ¿ÚÂÈ ı¤ÛË ÁÈ· ÙÔ Ì¤ÏÏÔÓ ÙÔ˘ ÎfiÛÌÔ˘.
∏ Û˘ÓÂÚÁ·Û›· Ì ÙËÓ ÙÔÈ΋ ·˘ÙÔ‰ÈÔ›ÎËÛË, ÙÔ˘˜ ÂÚÈ‚·ÏÏÔÓÙÈÎÔ‡˜ ÊÔÚ›˜ ηÈ
ÙÔÓ ¯ÒÚÔ Ù˘ Ù¤¯Ó˘ ·Ô‰ÂÈÎÓ‡ÂÙ·È ¤Ó· ȉȷ›ÙÂÚ· ÁfiÓÈÌÔ Î·È ·ÔÙÂÏÂÛÌ·ÙÈÎfi
̤ÛÔ ÁÈ· ÙË ‰È¿‰ÔÛË ÙÔ˘ ÌËӇ̷ÙÔ˜ ÁÈ· ÙËÓ ÚÔÛÙ·Û›· ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ηÈ
ÙËÓ Â˘·ÈÛıËÙÔÔ›ËÛË ÙˆÓ ÔÏÈÙÒÓ.
∆Ô À¶∂Ãø¢∂ ÛÙËÚ›˙ÂÈ ·˘Ù‹Ó ÙËÓ ÚÔÛÊÔÚ¿ ÙÔ˘ ÊÂÛÙÈ‚¿Ï, ηıÒ˜ Î·È ÙÔ˘ ¢‹ÌÔ˘ ƒÔ‰›ˆÓ, Ù˘ ¡Ô̷گȷ΋˜ ∞˘ÙÔ‰ÈÔ›ÎËÛ˘ ¢ˆ‰ÂηӋÛÔ˘ Î·È fiÏˆÓ ÙˆÓ ÂıÓÈÎÒÓ Î·È ÙÔÈÎÒÓ ÊÔÚ¤ˆÓ Ô˘ Û˘Ì‚¿ÏÏÔ˘Ó ÛÙËÓ ˘ÏÔÔ›ËÛ‹ ÙÔ˘.
∂Ï›˙ˆ ˆ˜ Ì ÙË ‚Ô‹ıÂÈ· fiÏˆÓ Ì·˜, ÙÔ Ecofilms ı· ÂÌÏÔ˘Ù›˙ÂÙ·È Î¿ı ¯ÚfiÓÔ
Î·È ı· Á›ÓÂÙ·È fiÏÔ Î·È ÈÔ ÂӉȷʤÚÔÓ.
ªÂ ÙȘ ηχÙÂÚ˜ ¢¯¤˜ ÌÔ˘ ÁÈ· ÌÈ· ·ÎfiÌË ÂÈÙ˘¯Ë̤ÓË ¯ÚÔÓÈ¿.
Cinema as a main means of representing the world and our views on
it, could not refrain from handling and studying the relationship
between man and nature.
The Seventh Art can present the importance of the natural
environment, stressing out at the same time that environmental
protection is a main part of modern civilization.
The films that are being screened at Ecofilms prove that the festival
functions as a medium of information and sensitization for all of us
towards the environment.
The prevailing message is that we, the humankind, have to treat
nature with respect, modestly and prudently.
The Ministry of Culture has always been assisting Ecofilms from the
very start of its foundation and keeps offering its moral and physical
support, considering that it is a common ground of important
dialogue between art and nature, cinema and the agony on our
planet’s fate.
Expressing my wishes for success.
4
ECOFILMS
ƒ√¢√™
2006
RODOS
It’s the second consecutive year that the Hellenic Ministry for the Environment, Physical Planning and Public Works sets the organization of the Ecofilms festival under its auspice. The 3rd year of organizing such an important event as Ecofilms marks its function as an institution that attracts a large
number of creators from all over the world. It also attracts an ever increasing
audience that seeks different approaches on matters dealing with life, the
natural and social values, the great problems of this planet. The festival offers
the participating public the opportunity to set questions to itself, to discuss
and to take a stand on the future of the world.
Cooperation among the local authorities, the environmental groups and the
art-scene proves to be an exceptionally fertile and effective means to spread
the message of protecting the environment and to raise public awareness.
The Hellenic Ministry for the Environment, Physical Planning and Public
Works supports this kind of contribution the festival makes, along with the
Municipality of Rodos, the Prefecture of Dodecanese and all the national and
local authorities that contribute to its realization.
I hope that with everyone’s help Ecofilms will be enriched each year and will
become even more interesting.
My best of wishes on yet another successful year.
°È¿ÓÓ˘ ª·¯·ÈÚ›‰Ë˜, ¡Ô̿گ˘ ¢ˆ‰ÂηӋÛÔ˘
Yannis Macheridis, Dodecanese Prefect
√ √ÚÁ·ÓÈÛÌfi˜ ¶ÔÏÈÙÈÛÙÈ΋˜ ∞Ó¿Ù˘Í˘ Ù˘ ¡Ô̷گȷ΋˜ ∞˘ÙÔ‰ÈÔ›ÎËÛ˘ ¢ˆ‰ÂηӋÛÔ˘ Ì ¯·Ú¿ Â›Ó·È Í·Ó¿ ÛÙÔ Ï¿È ÙÔ˘ ÊÂÛÙÈ‚¿Ï
Ecofilms, ÔÈÎÔÓÔÌÈο Î·È ÔÚÁ·ÓˆÙÈο. ™ÙÔ Ï·›ÛÈÔ ÛÙ‹ÚÈ͢ ÂΉËÏÒÛÂˆÓ Î‡ÚÔ˘˜ Î·È ıÂÛÌÈÎÔ‡ ¯·Ú·ÎÙ‹Ú·, ηψÛÔÚ›˙Ô˘ÌÂ Î·È ÂÌ›˜ ÙȘ ‰ËÌÈÔ˘ÚÁ›Â˜ -ۯ‰fiÓ fiϘ Û ÚÒÙË ÚÔ‚ÔÏ‹ ÛÙË ¯ÒÚ· Ì·˜- 115 Ó¤ˆÓ Î·È ·Ó·ÁÓˆÚÈÛÌ¤ÓˆÓ ÛÎËÓÔıÂÙÒÓ ·fi 39 ¯ÒÚ˜.
∆·Èӛ˜ ÌÈÎÚÔ‡ Î·È ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜, ÓÙÔÎÈÌ·ÓÙ¤Ú Î·È Ì˘ıÔÏ·Û›·˜, Ô˘ ηٷÁÚ¿ÊÔ˘Ó Û˘ÁÎÏÔÓÈÛÙÈΤ˜ Ì·ÚÙ˘Ú›Â˜ ÁÈ· ÙËÓ ÔÏ˘Û‡ÓıÂÙË Û¯¤ÛË ·ÓıÚÒÔ˘, ÂÚÈ‚¿ÏÏÔÓÙÔ˜ Î·È ÂͤÏÈ͢. ¶ÚÔÛˆÈΤ˜ Î·È Ì·˙ÈΤ˜ √‰‡ÛÛÂȘ ‰ÔṲ̂Ó˜ Ì ¯ÈÔ‡ÌÔÚ, ÈÎÚ›· ‹ ·fiÏ˘ÙÔ
Ú·ÏÈÛÌfi, ·ÏÏ¿ ¿Óˆ ·fi fiÏ· ‰ÔṲ̂Ó˜ Ì ۇÓıËÌ· ÙËÓ ·Á¿Ë ÁÈ· ÙË ˙ˆ‹ Î·È ÙËÓ ÂÏ¢ıÂÚ›· ·fi ÔÔÈ·‰‹ÔÙ «‰ÂÛÌ¿».
∞˘Ù‹ Â›Ó·È Ë ·Í›· ÙÔ˘ Ecofilms. ∫·Ù·Ê¤ÚÓÂÈ Î·È ‰ËÌÈÔ˘ÚÁ› ¤Ó· Ôχ¯ÚˆÌÔ „ËÊȉˆÙfi Ô˘ Ì ÊfiÓÙÔ ÙÔ Ê˘ÛÈÎfi ‹ Ù¯ÓËÙfi ÂÚÈ‚¿ÏÏÔÓ, Ì·˜ Ù·Íȉ‡ÂÈ, Ì·˜ ÂÓËÌÂÚÒÓÂÈ, Ì·˜ ÚÔ‚ÏËÌ·Ù›˙ÂÈ, Ì·˜ ·Ê˘Ó›˙ÂÈ. ∞fi Ù· ηο ÙˆÓ ÔϤ̈Ó, ÙÔ˘ Ù¤ÏÔ˘˜ Ù˘ ·È‰È΋˜ ·ıˆfiÙËÙ·˜, Ù˘ ηٷӿψÛ˘, Ù˘ ηÎfi‚Ô˘Ï˘ ¯Ú‹Û˘ Ù˘ Ù¯ÓÔÏÔÁ›·˜, ÙÔ˘ ıÚËÛ΢ÙÈÎÔ‡ Ê·Ó·ÙÈÛÌÔ‡ Î·È Ù˘ ÔÏÈÙÈ΋˜ ÔÚıfiÙËÙ·˜ ̤¯ÚÈ ÙËÓ ÔÌÔÚÊÈ¿ ÙˆÓ ÓÔÌ¿‰ˆÓ, Ù˘ ·Úı¤Ó·˜ ʇÛ˘, ÙÔ˘ ‰ÈηÈÒÌ·ÙÔ˜ ÛÙÔ fiÓÂÈÚÔ. ∫·È ̤۷ Û fiÏ· ·˘Ù¿ ÙÔ ÂÂÙÂÈ·Îfi ·ÊȤڈ̷
ÛÙÔ ∆ÛÂÚÓÔÌ›Ï Î·È Ë ÙÈÌËÙÈ΋ ·ÚÔ˘Û›·ÛË ÙÔ˘ ıÚ‡ÏÔ˘ °ÈfiÓ·˜ ª¤Î·˜.
√ √ÚÁ·ÓÈÛÌfi˜ ¶ÔÏÈÙÈÛÙÈ΋˜ ∞Ó¿Ù˘Í˘ Î·È ÂÁÒ, ÚÔÛˆÈο, ¢¯fiÌ·ÛÙ Û fiÏ· Ù· ¢·ÈÛıËÙÔÔÈË̤ӷ ¿ÙÔÌ·, ÛÎËÓÔı¤Ù˜, ÔÚÁ·ÓˆÙÈ΋ ÔÌ¿‰· Î·È ÙÔ ÎÔÈÓfi Ô˘ ı· ‚ÚÂı› ÛÙȘ ÛÎÔÙÂÈÓ¤˜ ·›ıÔ˘Û˜ ÚÔ‚ÔÏ‹˜, ηϋ ı¤·ÛË, ÁfiÓÈ̘ Û˘˙ËÙ‹ÛÂȘ Î·È ÔÏϤ˜ ·ÎfiÌ· ÂÈÙ˘¯›Â˜.
The Organization for Cultural Development of the Prefecture of Dodecanese is glad to be once again supporting the Ecofilms
festival, financially and organizationally. As part of our supporting work on events with prestige and institutional character, we
also welcome all films -almost all of them premiering in our country- of 115 young and established directors from 39 countries.
Shorts, long films, documentaries and features that record overwhelming testimonies about the complex relationship between
people, environment and progress. Personal and collective Odysseys narrated with humor, bitterness or absolute realism, but
above all conveying the message of love for life and freedom from every "bond".
This is the merit of Ecofilms. It manages to create a colorful mosaic, using the natural or artificial environment as a backdrop, that
takes us to a journey, informs, makes us think and awakes us. From the evils of war, the end of children’s innocence, the
consumption, the evil-minded use of technology, the religious fanatism and from the political correctness to the beauty of the
nomads, the pure nature and the right to dream. And among all this the special sidebar to Chernobyl and the tribute to the
legendary Jonas Mekas.
The Organization for Cultural Development and I personally wish all sensitized people, directors, the organization team and the
audience attending the screenings in the dark theaters, to enjoy the screenings, engage fruitful discussions and have a lot of
success in the future.
ECOFILMS
ƒ√¢√™
2006
RODOS
5
Spyros Kouvelis, Ecofilms President
™‡ÚÔ˜ ∫Ô˘‚¤Ï˘, ¶Úfi‰ÚÔ˜ Ecofilms
™ÎÂÊÙ›Ù ÙȘ ‰˘Ó·ÙfiÙËÙ˜ Ô˘ ¤¯Ô˘Ì ӷ ‰Ô‡Ì οÙÈ ÂӉȷʤÚÔÓ. ∏ ÙËÏÂfiÚ·ÛË Ì·˜ ÛÂÚ‚›ÚÂÈ Î·ıËÌÂÚÈÓ¿ Ú¿ÁÌ·Ù· ÎÂÓ¿, Ô˘ ‚˘ı›˙Ô˘Ó ÙÔ Ì˘·Ïfi
Î·È ÙË Û˘Ó›‰ËÛË Û ‚·ı‡ Î·È ¿¯·ÚÔ ‡ÓÔ. ™ÎÂÊÙ›Ù ÙȘ ‰˘Ó·ÙfiÙËÙ˜ Ô˘
¤¯ÂÈ Î·Ó›˜ Ó· ηٷϿ‚ÂÈ. ¶fiÏÂÌÔ˜, ÙÚÔÌÔÎÚ·Ù›·, ·ÂÈϤ˜, ÙÚÂϤ˜ ÙÈ̤˜ ÂÙÚÂÏ·›Ô˘, ·ÓÂÚÁ›·, ÎÏÈÌ·ÙÈ΋ ·ÏÏ·Á‹. ∆· ÁÈ·Ù› Î·È Ù· Ò˜.
ÕÓıÚˆÔÈ ÛÙ¤ÎÔÓÙ·È ÛÙË Ì¤ÛË ·˘ÙÔ‡ ÙÔ˘ ΢ÎÏÒÓ·, ÓÔÈÒıÔÓÙ·˜ ·‰‡Ó·ÌÔÈ,
ÌÂÚ‰Â̤ÓÔÈ Î·È ·Ó·ÛÊ·Ï›˜, ηıÒ˜ ÙÔ˘˜ ‚¿˙Ô˘Ó Ó· ‰Â¯ÙÔ‡Ó fiÙÈ Ù· ·ÓıÚÒÈÓ· ‰ÈηÈÒÌ·Ù· Û ȉȈÙÈ΋ ˙ˆ‹, ·ÍÈÔÚ¤ÂÈ·, ÂÏ¢ı¤ÚÈ·, ÂÈÚ‹ÓË, ÏËÚÔÊfiÚËÛË, ÂÚÁ·Û›·, ÙÚÔÊ‹, ÓÂÚfi, ηı·Úfi ÂÚÈ‚¿ÏÏÔÓ Ú¤ÂÈ Ó· ÂÚÈÔÚÈÛÙÔ‡Ó Ï›ÁÔ, ̤ڷ ÙË Ì¤Ú·, ÁÈ· ÙÔ ‰ÈÎfi ÙÔ˘˜ ÙÔ Î·Ïfi Î·È ÙËÓ ·ÛÊ¿ÏÂÈ· ÙÔ˘˜.
¡ÔÈ¿˙ÂÙ·È Î·Ó›˜; ªÂÚÈÎÔ› ÓÔÈ¿˙ÔÓÙ·È. ∫·È ÚÔÛ·ıÔ‡Ó Ó· ÙÔ Ô˘Ó Ì¤Û· ·fi ÔÏÈÙÈΤ˜, ‰ÈÂıÓ›˜ ÔÚÁ·ÓÈÛÌÔ‡˜, ÊfiÚÔ˘Ì, ‰ËÌÔÛÈÔÁÚ·Ê›·, ‚È‚Ï›·. ªÂÚÈÎÔ› ηÏÏÈÙ¤¯Ó˜ ÂӉȷʤÚÔÓÙ·È ÁÈ· ·˘Ù¿ Ù· ı¤Ì·Ù·, Î·È Ù· ÂÎÊÚ¿˙Ô˘Ó ÛÂ
Ù·Èӛ˜, Û ʈÙÔÁڷʛ˜, Û ÌÔ˘ÛÈ΋.
∆Ô Ecofilms Â›Ó·È Â‰Ò Î·È Ê¤ÙÔ˜ ÁÈ· Ó· ÙÔ˘˜ ÂÈÙÚ¤„ÂÈ Ó· ‰Â›ÍÔ˘Ó ÙË ‰Ô˘ÏÂÈ¿ ÙÔ˘˜. ∫·È Ó· ‰ÒÛÂÈ ÙËÓ Â˘Î·ÈÚ›· Û ·˘ÙÔ‡˜ Ô˘ ÓÔÈ¿˙ÔÓÙ·È ÎÈ ·˘ÙÔ‡˜
Ô˘ ı¤ÏÔ˘Ó Ó· ÚÔÛ·ı‹ÛÔ˘Ó Ó· ηٷϿ‚Ô˘Ó, Ó· ‰Ô˘Ó ·˘Ùfi ÙÔ ¤ÚÁÔ. ¡·
Û˘˙ËÙ‹ÛÔ˘Ó ÌÂٷ͇ ÙÔ˘˜ ÔÈ· Â›Ó·È Ù· Ú·ÁÌ·ÙÈο ı¤Ì·Ù· Î·È ÔȘ ÌÔÚÔ‡Ó Ó· Â›Ó·È ÔÈ Ï‡ÛÂȘ ÁÈ· ÙËÓ ·ÓıÚÒÈÓË ÎÔÈÓˆÓ›·.
√È ÙÔÈΤ˜ ÎÚ›ÛÂȘ Î·È ÔÈ ·ÁÎfiÛÌÈÔÈ fiÏÂÌÔÈ ÁÈ· ÙÔ˘˜ Ê˘ÛÈÎÔ‡˜ fiÚÔ˘˜, fiˆ˜ ÙÔ ÓÂÚfi Î·È ÙÔ ÂÙڤϷÈÔ, ı· Â›Ó·È Â‰Ò ÛÙÔ Ecofilms ʤÙÔ˜. ∏ ˘ÚËÓÈ΋
ÂÓ¤ÚÁÂÈ· Î·È ÔÈ ÂÚÈÔÚÈÛÌÔ› Ù˘, 20 ¯ÚfiÓÈ· ÌÂÙ¿ ÙÔ ∆Û¤ÚÓÔÌÈÏ ı· Â›Ó·È ÎÈ
·˘Ù‹ ‰Ò. √ fiÏÂÌÔ˜ Î·È Ë ÙÚÔÌÔÎÚ·Ù›·, Î·È fiϘ ÔÈ ·ÒÏÂȘ ı· Ì·˜ οÓÔ˘Ó Ó· ÛÎÂÊÙÔ‡ÌÂ. ∫È ·ÎfiÌ·: Ë ÚfiÎÏËÛË Ù˘ ·Ó¿Ù˘Í˘, Ë ·˘Í·ÓfiÌÂÓË
ÊÙÒ¯ÂÈ· Î·È ÔÈ Û¯¤ÛÂȘ ·Ó¿ÌÂÛ· ÛÙ· ‰˘Ô. ∏ ÔÌÔÚÊÈ¿ Ù˘ ʇÛ˘ Î·È Ë ‰ËÌÈÔ˘ÚÁÈ΋ ‹ ηٷÛÙÚÔÊÈ΋ ·ÓıÚÒÈÓË ·Ú¤Ì‚·ÛË Ô˘ ÂÍ·Ê·Ó›˙ÂÈ ÙË Ê‡ÛË
‹ ηٷÛ΢¿˙ÂÈ ·ÛÙÈο ÙÔ›·. ∏ ˘Á›· Î·È Ë ‰‡Ó·ÌË Ù˘ „˘¯‹˜ Ó· ÍÂÂÚ¿ÛÂÈ Ù· ÚÔ‚Ï‹Ì·Ù· Ù˘.
∆Ô ÊÂÛÙÈ‚¿Ï Ecofilms, ¯¿ÚË ÛÙË ‰È·Ú΋ ÛÙ‹ÚÈÍË ÙÔ˘ ¢‹ÌÔ˘ ƒÔ‰›ˆÓ Î·È Ù˘
¡ÔÌ·Ú¯›·˜ ¢ˆ‰ÂÎ·Ó‹ÛˆÓ ÌÂÁ¿ÏˆÛÂ Î·È ÂÂÎÙ¿ıËΠʤÙÔ˜. ¶·Ú¿ÏÏËÏ· ÌÂ
ÙÔ Ôχ ÂӉȷʤÚÔÓ Î·È ÔÈΛÏÔ ÚfiÁÚ·ÌÌ· Ù·ÈÓÈÒÓ, ÊÈÏÔÍÂÓ› Î·È ÂÎı¤ÛÂȘ ÛËÌ·ÓÙÈÎÒÓ ÊˆÙÔÁÚ¿ÊˆÓ ¿Óˆ Û ·ÍÈfiÏÔÁ· ı¤Ì·Ù·. ºÈÏÔÍÂÓ› ·ÎfiÌ·
ÔÙÈÎÔ·ÎÔ˘ÛÙÈÎfi ˘ÏÈÎfi Ô˘ ‰ËÌÈÔ˘ÚÁ‹ıËΠÁÈ· ÙËÓ 4Ë ¶·ÁÎfiÛÌÈ· ¢È¿ÛÎÂ„Ë ÁÈ· ÙÔ ¡ÂÚfi. ∏ ÊÂÙÈÓ‹ ¯ÚÔÓÈ¿ fï˜ ʤÚÓÂÈ Î·È ÙËÓ Â¤ÎÙ·ÛË ÙˆÓ ‰ÈÂıÓÒÓ Û˘ÓÂÚÁ·ÛÈÒÓ, ÌÂÙ¿ ÙÔ ƒ·ÌÛ·Ú, Ì ¤Ó· ·ÎfiÌ· ÛËÌ·ÓÙÈÎfi ÂÚÈ‚·ÏÏÔÓÙÈÎfi ÔÚÁ·ÓÈÛÌfi: ÙÔ ªÂÛÔÁÂÈ·Îfi ™¯¤‰ÈÔ ¢Ú¿Û˘ ÙÔ˘ ¶ÚÔÁÚ¿ÌÌ·ÙÔ˜ ÙˆÓ
∏ÓˆÌ¤ÓˆÓ ∂ıÓÒÓ ÁÈ· ÙÔ ¶ÂÚÈ‚¿ÏÏÔÓ, Ô˘ ¤ÓˆÛ ÙȘ ‰˘Ó¿ÌÂȘ ÙÔ˘ Ì·˙› Ì·˜
Î·È ı· Û˘ÌÌÂÙ¤¯ÂÈ ·fi ʤÙÔ˜ ÛÙÔ ÊÂÛÙÈ‚¿Ï.
∏ ÎÔÈÓ‹ ÚÔÛ¿ıÂÈ· fiÏˆÓ fiÛÔÈ ˘ÔÛÙËÚ›˙Ô˘Ó ÙÔ Ecofilms, ˘Ô˘ÚÁ›·, ÙÔÈ΋ ·˘ÙÔ‰ÈÔ›ÎËÛË, ¯ÔÚËÁÔ›, Ù‡Ô˜, ÂıÂÏÔÓÙ¤˜ Î·È ÂÚÁ·˙fiÌÂÓÔÈ, Î·È ¿Óˆ
·’ fiÏÔ˘˜ ÔÈ Î·ÏÏÈÙ¤¯Ó˜ Ô˘ ÂÌÈÛÙ‡ıËÎ·Ó ÙÔ ¤ÚÁÔ ÙÔ˘˜ ÛÙÔ ºÂÛÙÈ‚¿Ï,
ı· ÍÂÏËÚÒÛÂÈ ¯ˆÚ›˜ ·ÌÊÈ‚ÔÏ›· ÙÔ ÎÔÈÓfi Ô˘ Â›Ó·È ÈÛÙfi ÛÙËÓ ÂÙ‹ÛÈ· Û˘Ó¿ÓÙËÛ‹ Ì·˜ ÛÙË ƒfi‰Ô, Î·È ı· ÁÔËÙ‡ÛÂÈ ÂΛÓÔ˘˜ Ô˘ ı· ’Ó·È Ì·˙› Ì·˜ ÁÈ·
ÚÒÙË ÊÔÚ¿.
6
ECOFILMS
ƒ√¢√™
2006
RODOS
Think of the chances we get to see something interesting. Fed daily with
empty TV programmes, that drive minds and consciences to a deep,
troubled sleep. Think of the chances one has to understand. War, terror,
threats, soaring petrol prices, unemployment, climate change. The whys
and the hows.
People standing in the middle of this maelstrom, feeling overcome,
puzzled and insecure, asked to accept that their human rights of privacy,
dignity, freedom, peace, information, work, food, water, a clean
environment, have to be slightly reduced day after day for their own
good and safety.
Does anyone care?
Some do. And they try to make a point through politics, conventions,
forums, journalism, books. Some artists take an interest in those issues,
and express them in films, photography, music.
Ecofilms is here this year again to allow these creative artists to show their
work. And to give a chance to those who care, those who would try to
understand, to see this work. To discuss with each other on what the real
issues are, and what solutions the human kind can count on.
The local crises and global wars about resources, like water and oil, will be
here this year at Ecofilms. Nuclear energy and its limitations, 20 years after
Chernobyl will be here too. War and terror and all the losses will make us
think. And more: the development challenge and increasing poverty, the
links between the two. The beauty of natural environment and the
creative or devastating human interventions in destroying nature or
creating cityscapes. Health and the force of human will to overcome its
problems.
The Ecofilms festival, thanks to the continued support of the Municipality
of Rodos and the Prefecture of the Dodecanese has grown and expanded
this year. In addition to the very interesting and diverse programme of
films, it also hosts exhibitions and slide shows of important
photographers, on significant themes. It hosts shows of audiovisual
material created for the 4th World Water Forum. This year also marks the
enlargement of our collaboration, after Ramsar, with another very
important international environmental institution: The Mediterranean
Action Plan of the United Nations Environment Programme joined forces
and will be participating in the festival.
The common effort of those supporting Ecofilms, ministries, local
authorities, sponsors, the press, volunteers and staff, and most important,
the artists that entrusted their work to the Festival, will without doubt
repay all the audience that is loyal to our annual rendezvous in Rhodes,
and charm those that will be with us for the first time.
§Ô˘Î›· ƒÈοÎË, K·ÏÏÈÙ¯ÓÈ΋ ¢È¢ı‡ÓÙÚÈ·
Lucia Rikaki, ∂cofilms Artistic Director
M›· ̤ڷ ·fi ·˘Ù¤˜ Ô˘ ı· ›ÛÙÂ Â‰Ò ÛÙË ƒfi‰Ô, ͢Ó‹ÛÙ Úˆ› Î·È ·Ó‚›ÙÂ
ÛÙËÓ ∞ÎÚfiÔÏË. ∂ÈÛÎÂÊı›Ù ÙÔ Ó·fi ÙÔ˘ ∞fiÏψӷ ÙËÓ ·Ó·ÙÔÏ‹ Î·È ‰Â›Ù ÙË
ı¿Ï·ÛÛ·. ∆Ú·ÁÔ˘‰‹ÛÙ ÌÈ· ·Á·Ë̤ÓË Û·˜ ÌÂψ‰›· ‹ „Èı˘Ú›ÛÙ ÌÈ· ÚÔÛ¢¯‹. ¶ÂÚ·Ù‹ÛÙ ͢fiÏËÙÔÈ ÛÙËÓ ¿ÌÌÔ. °Ú¿„Ù Ì ¤Ó· ͇ÏÔ fiÔÈ· ϤÍË Û·˜ ¤ÚıÂÈ ÛÙÔ Ì˘·Ïfi Û ̛· ¤ÙÚ· Ô˘ ı· ‚Ú›Ù ÛÙËÓ ·Ú·Ï›· Î·È ÎÚ·Ù›ÛÙ ÙË ÛÊÈÎÙ¿ ÛÙËÓ ·Ï¿ÌË Û·˜. ŸÙ·Ó ηı›ÛÂÙ ‰›Ï· Û οÔÈÔÓ ÛÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ
¯·ÌÔÁÂÏ¿ÛÙ ÂÁοډȷ. √ ‹ÏÈÔ˜, Ë ı¿Ï·ÛÛ·, Ô ·ÏÈfi˜ Ó·fi˜, Ë ÌÂψ‰›·, Ë ÚÔÛ¢¯‹, Ë ¿ÌÌÔ˜, ÙÔ Î‡Ì·, Ë ¤ÙÚ·, ÙÔ Í‡ÏÔ, Ô ·¤Ú·˜, ÙÔ ¯·ÌfiÁÂÏÔ, fi,ÙÈ ·ÔÏ·‡Û·Ù ÛÙÔÓ ÚˆÈÓfi ÂÚ›·ÙÔ ‚Ú›ÛÎÔÓÙ·È Â‰Ò ·Ïfi¯ÂÚ·, ÁÂÓÓ·Èfi‰ˆÚ· Î·È ‰ˆÚ¿Ó. ∞ÎfiÌË Î·È ·Ó ÔÈ ÛÂÈÚ‹Ó˜ ÙÔ˘ ηٷӷψÙÈÛÌÔ‡ ÂÂÍÂÚÁ¿˙ÔÓÙ·È ÙÚfiÔ˘˜
Ó· Ù· ÂÌÔÚÂ˘Ì·ÙÔÔÈËıÔ‡Ó, ÔÚÈṲ̂ӷ ·Óı›ÛÙ·ÓÙ·È. ŒÙÛÈ Î·È Û ·˘Ùfi ÙÔ ÊÂÛÙÈ‚¿Ï ·Ó·˙ËÙԇ̠ÙËÓ ·˘ıÂÓÙÈ΋ Û˘ÁΛÓËÛË Î·È ÂÌÂÈÚ›· ÛÙËÓ ÔÔ›· ÌÔÚÔ‡Ó
Ó· Ì·˜ Ô‰ËÁ‹ÛÔ˘Ó ÔÈ Ù·Èӛ˜ ·fi fiÏÔ ÙÔÓ ÎfiÛÌÔ Ô˘ ÂÈϤÁÔ˘ÌÂ Î·È Û·˜ ÚÔÙ›ÓÔ˘Ì ÙË ı¤·ÛË ÙÔ˘˜ ‰ˆÚ¿Ó, Û·Ó Ó· ÚÔÛ¤Ú¯ÂÛÙ ÛÙËÓ ·Ú¯·›· ·ÁÔÚ¿ ÁÈ·
¤Ó· ‰È¿ÏÔÁÔ, Ì›· Û˘˙‹ÙËÛË, Ì›· ·Ó·˙‹ÙËÛË ÂÓfi˜ ÎÔÈÓÔ‡ ÙfiÔ˘ Û˘Ó¿ÓÙËÛ˘. ∏
ƒfi‰Ô˜ Â‰Ò Î·È ¯ÚfiÓÈ· ÊÈÏÔÍÂÓ› ·˘ÙfiÓ ÙÔÓ ÁfiÓÈÌÔ ÙfiÔ Û˘Ó¿ÓÙËÛ˘ Î·È ÙÔ ÊÂÛÙÈ‚¿Ï ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Ù˘ ƒfi‰Ô˘ ÚÔÙ›ÓÂÈ Î¿ı ¯ÚfiÓÔ ¤Ó·Ó ÂÚ›·ÙÔ ÛÙÔÓ
ÎfiÛÌÔ Ì¤Û· ·fi ÂÈÎfiÓ˜ Î·È ‹¯Ô˘˜ fiˆ˜ ·ÔÙ˘ÒÓÔÓÙ·È ÛÙËÓ Â˘·›ÛıËÙË ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ «¤Ó·» ÙˆÓ ‰ËÌÈÔ˘ÚÁÒÓ Ô˘ Î·È ÂΛÓÔÈ ·Óı›ÛÙ·ÓÙ·È Î·È ÔÏÂÌÔ‡Ó Í˘fiÏËÙÔÈ ·ÏÏ¿ Ì ÌÂÁ¿ÏÔ Ûı¤ÓÔ˜ fi,ÙÈ ÂÈ̤ÓÂÈ Ó· Ô‰ËÁ› Ù· Ú¿ÁÌ·Ù·
Ù˘ ÛΤ„˘, Ù˘ ηډȿ˜ ,Ù˘ ʇÛ˘ Û ÌÔÓÔ¿ÙÈ· ÌÔÓfi‰ÚÔÌÔ˘˜ ·ÓÂͤÏÂÁÎÙÔ˘
ηٷӷψÙÈÛÌÔ‡.
º¤ÙÔ˜ Û·˜ ÚÔÙ›ÓÔ˘Ì ӷ ·Ó·Î·Ï‡„ÂÙ ÙÔ˘˜ ÂÚÈ¿ÙÔ˘˜ ÂÓfi˜ Ôχ ÛÔ˘‰·›Ô˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙ‹, ÙÔ˘ °ÈfiÓ·˜ ª¤Î·˜. ∞Í›˙ÂÈ Ó· ‰Ô‡Ì Ò˜ ηٷÁÚ¿ÊÂÙ·È ÙÔ
ÙÔ›Ô, ÔÈ ÏÂÙÔ̤ÚÂȘ ÙÔ˘ Ê˘ÛÈÎÔ‡ Î·È ·ÛÙÈÎÔ‡ ÙÔ›Ô˘ ·ÏÏ¿ Î·È ÔÈ ·ÓıÚÒÈÓ˜
ÛÙÈÁ̤˜ ÛÙ· ÂÚ›ÊËÌ· ËÌÂÚÔÏfiÁÈ· ÙÔ˘. ¶Ò˜ ηÙÔÈΛ Ë ÛȈ‹, Ë ÂÌÌÔÓ‹ Î·È ÙÂÏÈο Ë ÁfiÓÈÌË ÛΤ„Ë. ƒ›ÍÙ ̛· Ì·ÙÈ¿ ÛÙÔ ÌÈÎÚfi ‰fiÁÌ· Ô˘ ÚÔÙ›ÓÂÈ Ô ª¤Î·˜
ÛÙȘ Û˘Ì‚Ô˘Ï¤˜ ÙÔ˘˜ ÚÔ˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙ¤˜.
™·˜ ηÏԇ̠ӷ Ì·˜ ·ÎÔÏÔ˘ı‹ÛÂÙ Û ·˘Ùfi ÙÔ ÂÚ›·ÙÔ ÁÈ· Ó· ·Ó·Î·Ï‡„Ô˘ÌÂ
fiÙÈ Â›Ó·È ·ÔÎÏÂÈÛÙÈο ÛÙÔ ¯¤ÚÈ Ì·˜ Ó· ‰È·Ê˘Ï¿ÍÔ˘Ì ·˘Ùfi ÙÔ ÌÔÓ·‰ÈÎfi ÏÔ‡ÙÔ
Ô˘ Ì·˜ ·Ú¤¯ÂÙ·È Ì ÙfiÛË ÁÂÓÓ·ÈÔ‰ˆÚ›·. √È Ù·Èӛ˜ Ô˘ ı· ‰Â›Ù ÛÙÔ ÊÂÛÙÈ‚¿Ï
Û˘Ó‹ıˆ˜ ηÙÔÈÎÔ‡Ó ¤Íˆ ·fi Ù· Â›ÛËÌ· ΢ÎÏÒÌ·Ù· ‰È·ÓÔÌ‹˜ ÁÈ·Ù› ÂΛӷ ˘ÔÛÙËÚ›˙Ô˘Ó fiÙÈ ÙÔ ÎÔÈÓfi ÙÔ˘˜ Â›Ó·È ÂÚÈÔÚÈṲ̂ÓÔ. ∆Ô ÎÔÈÓfi ÙÔ˘ ÊÂÛÙÈ‚¿Ï fï˜ ··ÓÙ¿ Û ·˘Ùfi Ì ÙË Ì·˙È΋ Û˘ÌÌÂÙÔ¯‹ ÙÔ˘. ŒÓ· ÌÈÎÚfi ·ÊȤڈ̷ ÛÙÔ ƒÔ‰›ÙË °ÈÒÙË ¶··ı·Ó¿ÛË, ÂÏ¿¯ÈÛÙÔ˜ ÊfiÚÔ˜ ÙÈÌ‹˜ ÛÙË Û˘Ì‚ÔÏ‹ ÙÔ˘ ÛÙÔ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎfi ÙÔ›Ô Ù˘ ƒfi‰Ô˘.
∆¤ÏÔ˜ ÈÛÙ‡ˆ fiÙÈ ·Í›˙ÂÈ Ó· ›̷ÛÙ ·Ïfi¯ÂÚÔÈ Ì ÙÔ˘˜ Â·›ÓÔ˘˜. √Ê›ψ ÚÔÛˆÈο ¤Ó· ÌÂÁ¿ÏÔ Â˘¯·ÚÈÛÙÒ ÛÙÔ ¢‹ÌÔ ƒfi‰Ô˘ Î·È ÛÙÔ ¢‹Ì·Ú¯Ô °. °È·ÓÓfiÔ˘ÏÔ, ÁÈ· ÙË ÁÂÓÓ·ÈfiÙËÙ· Î·È ÁÂÓÓ·ÈÔ‰ˆÚ›· Ì ÙËÓ ÔÔ›· ÛÙËÚ›˙ÂÈ ÙÔ ıÂÛÌfi
ÙÔ˘ ÊÂÛÙÈ‚¿Ï ÛÙË ƒfi‰Ô. ∂›Ó·È ÙÔ ÌÔÓ·‰ÈÎfi ‰ÈÂıÓ¤˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎfi ÊÂÛÙÈ‚¿Ï
ÛÙË ¯ÒÚ· Ì·˜ Ô˘ ÂÓÈÛ¯‡ÂÙ·È ·ÔÎÏÂÈÛÙÈο ·fi ÙÔÈÎÔ‡˜ ÊÔÚ›˜ –Î·È Â‰Ò Ó·
·Ó·ÊÂÚıÒ Î·È ÛÙË Û˘Ì‚ÔÏ‹ Ù˘ ¡ÔÌ·Ú¯›·˜ ¢ˆ‰ÂηӋÛÔ˘. ∞˘Ùfi ÈÛÙ‡ˆ fiÙÈ
‰È‰¿ÛÎÂÈ ‹ıÔ˜ ÁÈ· ÙÔ Ò˜ ÌÔÚÔ‡Ó Ó· ÁÂÓÓËıÔ‡Ó Î·È Ó· ·Óı›ÛÔ˘Ó Ô˘ÛÈ·ÛÙÈο
ÔÈ ·ÔÎÂÓÙڈ̤Ó˜ ÚˆÙÔ‚Ô˘Ï›Â˜ Î·È ÔÏÈÙÈÛÙÈΤ˜ ÂΉËÏÒÛÂȘ.
One day while you are here at the festival wake up early and go up to the
Acropolis. Visit the ancient temple of Apollo at dawn and look at the sea.
Sing your favourite melody or whisper a prayer. Walk barefoot on the
sand. Write any word that comes to your mind with a small piece of wood
on one of the stones you will find at the beach and keep it in your palm.
When you sit next to someone in the cinema, smile generously. The sun,
the sea, the ancient temple, the melody, the prayer, the sand, the wood,
the stone, the wave, the wind are all here generously for you and for free.
Even if the sirens of consumerism devise ways to even commercialise
them, some of them still resist. Like in this festival we are looking for the
authentic emotions the experience towards which films may lead us. We
select and propose films frÔm all over the world and we suggest that you
come and watch them for free like you would come to the ancient Greek
"agora" for a discussion, a dialogue and the quest for a common meeting
ground. Rodos for many years now hosts this very fertile meeting ground
and the Rodos International Film festival suggests every year a walk to
the world through images and sounds as they reside in the delicate and
sensitive writing of film directors that also choose to resist and fight
barefoot whatever insists in leading the issues of the heart, thought and
nature in the uncontrolled paths of consumerism.
This year we suggest you discovered the walks of a great filmmaker, Jonas
Mekas. It is worth witnessing how the landscape, the details of the natural
and urban landscape, but also the human moments in his fabulous diaries
are recorded. How silence, obsession and finally fruitful thought linger
there. Take a look at the short dogma Mekas suggests in his advices to
filmmakers.
We invite you to follow us in this walk to discover that it is completely up
to us to safeguard this invaluable wealth which is offered to us so
generously and for free. The films you will watch at the festival usually
reside outside the official distribution circuits because these circuits claim
that there is limited audience for these films. The audience of the festival
defies that through its massive participation. A small tribute to Rodosborn director Yiotis Papathanassis is the least we can do to honour his
contribution to the film-scene of Rodos.
Finally, I believe that we should be generous in giving out compliments. I
am really thankful to the Municipality of Rodos and to the Mayor, Giorgos
Gianopoulos, for the bravery and generosity in supporting the institution
of this festival in Rodos. It is the only international film festival in the
country that is supported exclusively by local authorities –and here I
should also mention the involvement of the Prefecture of Dodekanese. I
believe this teaches ethos on how actual decentralized initiatives and
cultural events can bloom and grow.
ECOFILMS
ƒ√¢√™
2006
RODOS
7
ÃÚ‹ÛÙÔ˜ ¶·Ó·ÁfiÔ˘ÏÔ˜
¶Úfi‰ÚÔ˜ ¢™ - ¢È¢ı‡ÓˆÓ Û‡Ì‚Ô˘ÏÔ˜ ∂ƒ∆ ∞∂
Christos Panagopoulos
President of the board of directors
Managing Director ERT
¶›ÙÂÚ ªÚÈÙ˙Ô˘fiÙÂÚ
°ÂÓÈÎfi˜ °Ú·ÌÌ·Ù¤·˜ ™˘Óı‹Î˘ ƒ¿ÌÛ·Ú
Peter Bridgewater
Ramsar Secretary General
∏ ∂ÏÏËÓÈ΋ ƒ·‰ÈÔʈӛ· ∆ËÏÂfiÚ·ÛË, ˘ÔÛÙËÚ›˙ÂÈ ÂÈÎÔÈÓˆÓȷο ÙÔ ¢ÈÂıÓ¤˜ ∫ÈÓËÌ·ÙÔÁÚ·ÊÈÎfi ºÂÛÙÈ‚¿Ï Ecofilms ·fi ÙËÓ ÚÒÙË ÎÈfiÏ·˜ ‰ÈÔÚÁ¿ÓˆÛ‹ ÙÔ˘. ¢ÂÓ ı· ÌÔÚÔ‡Û ÏÔÈfiÓ Ó· ·Ô˘ÛÈ¿˙ÂÈ Î·È Ë ÊÂÙÈÓ‹ ‰ÈÔÚÁ¿ÓˆÛË ÙÔ˘ ÊÂÛÙÈ‚¿Ï ·fi ÙÔÓ ÂÙ‹ÛÈÔ ¯ÔÚËÁÈÎfi ÚÔÁÚ·ÌÌ·ÙÈÛÌfi Ù˘ ∂ƒ∆.
∆Ô Ecofilms, Ô˘ Ú·ÁÌ·ÙÔÔÈÂ›Ù·È ÛÙË ƒfi‰Ô ·fi ÙȘ 20 ¤ˆ˜ ÙȘ 25 πÔ˘Ó›Ô˘,
ı· ‰ÒÛÂÈ ÙËÓ Â˘Î·ÈÚ›· ÛÙÔ Â˘Ú‡ÙÂÚÔ ÎÔÈÓfi Ó· ‰ÂÈ ÎÈÓËÌ·ÙÔÁÚ·ÊÈΤ˜ Ù·Èӛ˜
Î·È Ù·Èӛ˜ ‚›ÓÙÂÔ Ô˘ ·Ó·‰ÂÈÎÓ‡Ô˘Ó Ì ÙÚfiÔ ÂÏ΢ÛÙÈÎfi Ù· ÌÂÁ¿Ï· ÔÈÎÔÏÔÁÈο ˙ËÙ‹Ì·Ù· ·ÏÏ¿ Î·È Ù· ÚÔ‚Ï‹Ì·Ù· Ô˘ ¤¯Ô˘Ó Ó· οÓÔ˘Ó Ì ÙËÓ
ÔÈfiÙËÙ· ˙ˆ‹˜ ÙÔ˘ ·ÓıÚÒÔ˘ ÛÙËÓ Î·ıËÌÂÚÈÓfiÙËÙ¿ ÙÔ˘.
™Â ·˘Ù‹ ÙËÓ ÚˆÙÔ‚Ô˘Ï›· Ô˘ Û˘Ó‰˘¿˙ÂÈ ¿ÚÈÛÙ· ÙÔÓ ÔÏÈÙÈÛÌfi Ì ٷ ÛËÌ·ÓÙÈο ÔÈÎÔÏÔÁÈο Î·È Â˘Ú‡ÙÂÚ· ÂÚÈ‚·ÏÏÔÓÙÈο ÚÔ‚Ï‹Ì·Ù· Ô˘ ·ÓÙÈÌÂÙˆ›˙ÂÈ Û‹ÌÂÚ· Ô ¿ÓıÚˆÔ˜ Ë ∂ƒ∆ ı· Â›Ó·È Î·È ·˘Ù‹ ÙË ÊÔÚ¿ ÔχÙÈÌÔ˜
Û˘Ì·Ú·ÛÙ¿Ù˘ Î·È ÂÈÎÔÈÓˆÓÈ·Îfi˜ ·ÚˆÁfi˜.
∫·Ï‹ ÂÈÙ˘¯›·!
∏ ™˘Óı‹ÎË ƒ¿ÌÛ·Ú ÁÈ· ÙËÓ ¶ÚÔÛÙ·Û›· ÙˆÓ ÀÁÚÔÙfiˆÓ, Ô˘ ˘ÔÁÚ¿ÊËÎÂ
ÛÙËÓ fiÏË ƒ¿ÌÛ·Ú ÛÙÔ πÚ¿Ó ÙÔ 1971, ·ÔÙÂÏ› ÙËÓ ·Ï·ÈfiÙÂÚË ‰ÈÂıÓ‹ Û˘Óı‹ÎË ÁÈ· ÙËÓ ÚÔÛÙ·Û›· ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓÙÔ˜. ™Ùfi¯Ô˜ Ù˘ Â›Ó·È Ë ÚÔÛÙ·Û›·
Î·È ÔÚı‹ ‰È·¯Â›ÚÈÛË ÙˆÓ ˘ÁÚÔÙfiˆÓ Î·È ÙˆÓ fiÚˆÓ ÙÔ˘˜. ∂ȉÈÎfiÙÂÚ· ÁÈ·
ÙË ªÂÛfiÁÂÈÔ, Ë ™˘Óı‹ÎË ƒ¿ÌÛ·Ú Ì¤Ûˆ Ù˘ ¶ÚˆÙÔ‚Ô˘Ï›·˜ ÁÈ· ÙÔ˘˜ ªÂÛÔÁÂÈ·ÎÔ‡˜ ÀÁÚÔÙfiÔ˘˜ (MedWet), ı¤ÙÂÈ Û ÂÊ·ÚÌÔÁ‹ ¤Ó· ÛËÌ·ÓÙÈÎfi ÚfiÁÚ·ÌÌ· ÂÓÂÚÁÂÈÒÓ Ì ·˘Ùfi ÙÔ ÛÙfi¯Ô.
∏ °Ú·ÌÌ·Ù›· ƒ¿ÌÛ·Ú Î·È ÙÔ MedWet ˘ÔÛÙËÚ›˙Ô˘Ó ÙȘ ‰Ú¿ÛÂȘ ÌÂÙ¿‰ÔÛ˘ Ù˘ ÛËÌ·Û›·˜ Ù˘ ÚÔÛÙ·Û›·˜ ÙˆÓ ˘ÁÚÔÙfiˆÓ, Î·È ÙË ÛËÌ·Û›·˜ Ô˘ ¤¯Ô˘Ó fi¯È ÌfiÓÔ ÁÈ· ÙË Ê‡ÛË Ì· Î·È ÁÈ· ÙȘ ·ÓıÚÒÈÓ˜ ÎÔÈӈӛ˜ Î·È ÙËÓ Â˘ËÌÂÚ›· ÙÔ˘˜. √È ˘ÁÚfiÙÔÔÈ ·›˙Ô˘Ó ÌÂÁ¿ÏÔ ÚfiÏÔ Â›Û˘ ÛÙÔÓ Î‡ÎÏÔ ÙÔ˘
ÓÂÚÔ‡. °È’ ·˘ÙÔ‡˜ ÙÔ˘˜ ÏfiÁÔ˘˜ ‰›ÓÂÙ·È ÁÈ· ÙÚ›ÙË ¯ÚÔÓÈ¿ ÛÙÔ ÊÂÛÙÈ‚¿Ï
Ecofilms, ÙÔ ‚Ú·‚Â›Ô Ramsar/MedWet ÁÈ· Ù·Èӛ˜ Ô˘ ·ÊÔÚÔ‡Ó ÛÙÔ ÓÂÚfi
Î·È ÙÔ˘˜ ˘ÁÚÔÙfiÔ˘˜, ÚÔÛÂÏ·ÔÓÙ·˜ οı ÊÔÚ¿ ·ÚÎÂÙ¤˜ ÂӉȷʤÚÔ˘Û˜
Ù·Èӛ˜. ™Â Û˘Ó‰˘·ÛÌfi Ì ÙË ÊˆÙÔÁÚ·ÊÈ΋ ¤ÎıÂÛË ÁÈ· ÙÔ˘˜ ˘ÁÚÔÙfiÔ˘˜
Ù˘ ªÂÛÔÔÙ·Ì›·˜ Ô˘ ı· Ú·ÁÌ·ÙÔÔÈËı› Ù·˘Ùfi¯ÚÔÓ·, ÙÔ ÊÂÛÙÈ‚¿Ï ηχÙÂÈ ÌÈ· Ôχ ÛËÌ·ÓÙÈ΋ Ù˘¯‹ ÙˆÓ ÎÔÈÓÒÓ Ì·˜ ÚÔÛ·ıÂÈÒÓ ÚÔÛÙ·Û›·˜ ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓÙÔ˜ Ì·˜.
The Hellenic Broadcasting Corporation (ERT) offers its media support to
Ecofilms International Film Festival since its very first organization.
Therefore this year’s festival could not be excluded from ERT’s annual
sponsorship program.
Ecofilms, organized 20-25 June in Rodos, will give a larger audience the
chance to view film and video productions that present in an attractive
way all major ecological matters as well as issues concerning the quality
of life in everyday life.
To this initiative that masterfully combines culture with important
ecological and various environmental problems that man faces today,
ERT will once again be a valuable supporter and communication sponsor.
Best of luck!
8
ECOFILMS
ƒ√¢√™
2006
RODOS
The Ramsar Convention on Wetlands, signed in the city of Ramsar, Iran in
1971, is the oldest global convention for the protection of the
environment. Its aim is to conserve and manage sustainably wetlands and
their resources. With particular regard to the Mediterranean, Ramsar
through its Mediterranean Wetlands Initiative –MedWet is implementing
an important program of activities for this purpose.
The Ramsar Secretariat and MedWet support actions for communicating
the importance of conserving wetlands, and the role they play not only
for wildlife but also for human societies and their well being. Wetlands
also have a vital role in the water cycle. This is why the Ramsar/MedWet
award for films on water and wetlands is presented for the third time in
the Ecofilms festival, attracting each time a very interesting collection of
films. Along with the photo exhibition on the Mesopotamian wetlands,
mounted at the same time the festival covers a very important aspect of
our common effort to protect our global environment.
¢Ú. ™¤ÚÙ˙ÈÔ πÏÔ˘ÌÈÓ¿ÙÔ, °ÂÓÈÎfi˜ ¢È¢ı˘ÓÙ‹˜ Ù˘ INFO/RAC-MAP,
∆Ì‹Ì· ¶ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ÙˆÓ ∏ÓˆÌ¤ÓˆÓ ∂ıÓÒÓ
Dr. Sergio Illuminato, Director General INFO/RAC-MAP,
United Nations Environment Programme
∏ ™˘Óı‹ÎË Ù˘ µ·ÚÎÂÏÒÓ˘ –Û ÈÛ¯‡ ·fi ÙÔ 1978- ÂÎÚÔÛˆ› ¤Ó· ›‰Ô˜ «™˘ÓÙ¿ÁÌ·ÙÔ˜» ÁÈ· ÙËÓ ÚÔÛÙ·Û›· Ù˘ ªÂÛÔÁ›Ԣ. √È ‚·ÛÈÎÔ› È‰Ú˘Ù¤˜ ·˘Ù‹˜ Ù˘
‰ÈÂıÓÔ‡˜ Û˘Ìʈӛ·˜ Â›Ó·È ÔÈ 21 ¯ÒÚ˜ Ù˘ ∂∂ Ô˘ ‚Ú¤¯ÔÓÙ·È ·fi ÙË ªÂÛfiÁÂÈÔ. Œ¯ÔÓÙ·˜ Â›ÁÓˆÛË Ù˘ ÛËÌ·Û›·˜ Ù˘ ÚÔÛÙ·Û›·˜ Ù˘ Ê˘ÛÈ΋˜ Î·È ÔÏÈÙÈÛÙÈ΋˜ ÎÏËÚÔÓÔÌÈ¿˜ Ù˘ ªÂÛÔÁ›Ԣ, ÔÈ Î˘‚ÂÚÓ‹ÛÂȘ ·˘Ù¤˜ ·ÔÊ¿ÛÈÛ·Ó Ó· ·ÓÙÈÌÂÙˆ›ÛÔ˘Ó ÙȘ ¤ÎÙ·ÎÙ˜ ·Ó¿ÁΘ ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ‰Â›¯ÓÔÓÙ·˜ ÂÌÈÛÙÔÛ‡ÓË
ÛÙÔ ∆Ì‹Ì· ¶ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ÙˆÓ ∏ÓˆÌ¤ÓˆÓ ∂ıÓÒÓ (UNEP) – ÙÔ˘ ÔÔ›Ô˘ Ë ‰Ú¿ÛË ÂÊ·ÚÌfi˙ÂÙ·È ·fi ÙÔ ªÂÛÔÁÂÈ·Îfi ¶ÚfiÁÚ·ÌÌ· ¢Ú¿Û˘ (MAP) - Ì ÛÙfi¯Ô
ÙË ‰È‡ı˘ÓÛË ÙÔ˘ Û˘ÓÙÔÓÈÛÌÔ‡ ÙˆÓ ‰Ú·ÛÙËÚÈÔÙ‹ÙˆÓ Û˘ÓÂÚÁ·Û›·˜ ÌÂٷ͇ ÙˆÓ ™˘Ì‚·ÏÏfiÌÂÓˆÓ ªÂÏÒÓ Ù˘ ™˘Óı‹Î˘, Ì ÛÎÔfi Ó· ÎÂÚ‰›ÛÔ˘Ó ÙËÓ ÚfiÎÏËÛË Ù˘ ·ÂÈÊfiÚÔ˘ ·Ó¿Ù˘Í˘.
∫·Ù¿ ÙË ‰È¿ÚÎÂÈ· ÙˆÓ Û˘Ó·ÓÙ‹ÛÂˆÓ ÙˆÓ ™˘Ì‚·ÏÏfiÌÂÓˆÓ ªÂÏÒÓ (2005) ÂÁÎÚ›ıËÎÂ Ë «ªÂÛÔÁÂȷ΋ ™ÙÚ·ÙËÁÈ΋ ÁÈ· ÙË µÈÒÛÈÌË ∞Ó¿Ù˘ÍË» (MSSD). ™Ùfi¯Ô˜
Ù˘ Â›Ó·È Ó· ÚÔÛ·ÚÌfiÛÂÈ ‰ÈÂıÓ›˜ ˘Ô¯ÚÂÒÛÂȘ ÛÙȘ Û˘Óı‹Î˜ Ù˘ ÂÚÈʤÚÂÈ·˜, Ó· ηıÔ‰ËÁ‹ÛÂÈ ÙȘ ÂıÓÈΤ˜ ÛÙÚ·ÙËÁÈΤ˜ ÁÈ· ·ÂÈÊfiÚÔ ·Ó¿Ù˘ÍË Î·È Ó·
ÚÔˆı‹ÛÂÈ ‰˘Ó·ÌÈΤ˜ Û˘ÓÂÚÁ·Û›Â˜ ÌÂٷ͇ ¯ˆÚÒÓ Ì ‰È·ÊÔÚÂÙÈο Â›‰· ·Ó¿Ù˘Í˘. ∞˘ÙÔ‡ ÙÔ˘ ›‰Ô˘˜ Ë ÛÙÚ·ÙËÁÈ΋ ·ÓÙÈÚÔÛˆ‡ÂÈ Ì›· ÌÔÓ·‰È΋ ¢ηÈÚ›· Ó· Á›ÓÂÈ ÌÈ· ΛÓËÛË ÚÔ˜ ÙËÓ ·ÂÈÊfiÚÔ ·Ó¿Ù˘ÍË, Ó· ÂÓÈÛ¯˘ı› Ë ÂÈÚ‹ÓË, Ë ÛÙ·ıÂÚfiÙËÙ· Î·È Ë Â˘ËÌÂÚ›· ÔÏfiÎÏËÚ˘ Ù˘ ÂÚÈÔ¯‹˜, Î·È Î·Ù¿ ·˘Ùfi ÙÔÓ
ÙÚfiÔ Ó· ÌÂȈı› ÙÔ ¯¿ÛÌ· ÌÂٷ͇ ÙˆÓ ·ÓÂÙ˘ÁÌ¤ÓˆÓ Î·È ÙˆÓ ·Ó·Ù˘ÛÛfiÌÂÓˆÓ ¯ˆÚÒÓ.
£¤ÙÔÓÙ·˜ ÛÙfi¯Ô ÙËÓ fiÛÔ ÙÔ ‰˘Ó·Ùfi ¢ڇÙÂÚË ‰È¿‰ÔÛË ÙˆÓ ÂÚȯÔÌ¤ÓˆÓ Ù˘ ªÂÛÔÁÂȷ΋˜ ™ÙÚ·ÙËÁÈ΋˜ ÁÈ· ÙËÓ ∞ÂÈÊfiÚÔ ∞Ó¿Ù˘ÍË Ë INFO/RACUNEP/MAP ¤Ï·‚ ̤ÚÔ˜ Ì ÙÔ «¶ÂÚÈ‚·ÏÏÔÓÙÈÎfi µÚ·‚Â›Ô Ù˘ ªÂÛÔÁ›Ԣ» Û ‰È¿ÊÔÚ· Â˘Úˆ·˚ο ÌÂÛÔÁÂȷο ÊÂÛÙÈ‚¿Ï ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ÊˆÙÔÁÚ·Ê›·˜, Ô˘ ‰Â›¯ÓÔ˘Ó Â˘·ÈÛıËÛ›· Û ı¤Ì·Ù· ÂÚÈ‚¿ÏÏÔÓÙÔ˜. ∂ÈϤÔÓ ÙÔ INFO/RAC Û˘ÓÂÚÁ¿ÛÙËΠ̠ÊÂÛÙÈ‚¿Ï ·˘ÙÔ‡ ÙÔ˘ ›‰Ô˘˜ ÁÈ· Ó· ‰ËÌÈÔ˘ÚÁ‹ÛÂÈ ÙÔ
«¢›ÎÙ˘Ô ¶ÂÚÈ‚·ÏÏÔÓÙÈ΋˜ Î·È ∞ÂÈÊfiÚÔ˘ ∞Ó¿Ù˘Í˘», ÙÔ ÔÔ›Ô ÚÔ˜ ÛÙÈÁÌ‹Ó ÂÓı·ÚÚ‡ÓÂÈ Î·È Ó· Û˘ÁÎÂÓÙÚÒÓÂÈ È‰¤Â˜, Û˘Ì‚Ô˘Ï¤˜ Î·È ÚÔÙ¿ÛÂȘ ÁÈ· χÛÂȘ
·fi ¤Ó· ¢ڇ ̤ÚÔ˜ Ù˘ ÎÔÈÓˆÓ›·˜.
£· ‹ıÂÏ· Ó· ·¢ı‡Óˆ ÙȘ ‚·ıȤ˜ Î·È ÂÈÏÈÎÚÈÓ›˜ ¢¯·ÚÈÛٛ˜ ÌÔ˘ ÛÙÔ˘˜ ÔÚÁ·ÓˆÙ¤˜ ÙÔ˘ ÊÂÛÙÈ‚¿Ï Ô˘ Ì·˜ ÊÈÏÔÍÂÓ›, Ô˘ Ì·˜ ·Ú›¯·Ó Ì ÁÂÓÓ·ÈÔ‰ˆÚ›·
¯ÒÚÔ Î·È ¯ÚfiÓÔ, Î·È Ô˘ Ì ÂÓıÔ˘ÛÈ·ÛÌfi ˘ÈÔı¤ÙËÛ·Ó ÙËÓ ÚÔÒıËÛË ·˘Ù‹˜ Ù˘ ÚˆÙÔ‚Ô˘Ï›·˜ ·Ê‡ÓÈÛ˘ ÙÔ˘ ÎÔÈÓÔ‡, ÂÌÓ¤ÔÓÙ·˜ ÙË Û˘ÌÌÂÙÔ¯‹ Û ÔÏfiÎÏËÚË ÙËÓ Â˘Úˆ·˚΋ ˙ÒÓË Ù˘ ªÂÛÔÁ›Ԣ.
The Barcelona Convention – in force since 1978 – represents a sort of "Constitution" for the safeguard of the Mediterranean Sea. The key actors of this
international agreement are the 21 EU countries coasting the Mediterranean Sea. Aware of the importance of the safeguard of the naturalistic and
cultural heritage of the Mediterranean, these governments have decided to tackle the environmental emergencies, entrusting the United Nations
Environment Programme (UNEP) – whose action is implemented through its Mediterranean Action Plan (MAP) – with the task of managing the
coordination of the cooperation activities among the Contracting Parties of the Convention, in order to win the challenge of sustainable development.
During the last Meeting of the Contracting Parties (2005) the "Mediterranean Strategy for Sustainable Development" (MSSD) has been approved. Its aim
is to adapt international commitments to regional conditions, to guide the national strategies of sustainable development and to promote dynamic
partnerships among countries with different levels of development. Such a strategy represents a unique opportunity to move substantially towards
sustainable development, to reinforce peace, stability and prosperity in the whole region, and, in so doing, reducing the gap between developed and
developing countries.
Aiming at disseminating the contents of the Mediterranean Strategy for Sustainable Development as much as possible, INFO/RAC-UNEP/MAP has
participated with a special window of the "Mediterranean Environmental Award" in other Euro-Mediterranean film and photographic festivals, sensitive
to environmental issues. Furthermore, INFO/RAC has cooperated with such festivals to create the "Environment and Sustainable Development
Network", which, in time, can encourage and collect thoughts, contributions and proposals of solutions from a wide portion of the civil society.
I would like to address heartfelt and sincere thanks to the organizers of the host festival, who have generously provided for spaces and time and who
have enthusiastically adhered to the promotion of this initiative of spreading awareness and of encouraging commitment for the whole EuroMediterranean area.
ECOFILMS
ƒ√¢√™
2006
RODOS
9
∫ÚÈÙÈΤ˜ ÂÈÙÚÔ¤˜
Juries
∆∞π¡π∂™
∆∞π¡π∂™
∆∞π¡π∂™
∆∞π¡π∂™
ª∂°∞§√À ª∏∫√À™ FEATURE-LENGTH FILMS
ª∂™∞π√À ª∏∫√À™ MEDIUM-LENGTH FILMS
ªπ∫ƒ√À ª∏∫√À™ SHORT FILMS
°π∞ ∆√ ¡∂ƒ√ ∫∞π ∆√À™ À°ƒ√∆√¶√À™
FILMS √¡ WATER AND WETLANDS
E§§∏¡π∫∂™ ∆∞π¡π∂™ GREEK FILMS
∫ƒπ∆π∫∏ ∂¶π∆ƒ√¶∏ ∆ ∞ π ¡ π ø ¡ ª ∂ ° ∞ § √ À ª ∏ ∫ √ À ™
F E A T U R E - L E N G T H F I L M S JURY
∆¿ÛÔ˜ ªÔ˘Ï̤Ù˘
Manuel Poutte
°ÂÓÓ‹ıËΠÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË ÙÔ 1957 ηÈ
‹Úı ÛÙËÓ ∂ÏÏ¿‰· ÙÔ 1964. ™Ô‡‰·Û º˘ÛÈ΋
ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ Î·È ÛÎËÓÔıÂÛ›· ηÈ
·Ú·ÁˆÁ‹ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ∆ËÏÂfiÚ·Û˘
ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ Ù˘ ∫·ÏÈÊfiÚÓÈ· ÛÙÔ §Ô˜
ÕÓÙ˙ÂϘ, UCLA. ∂ÚÁ¿ÛÙËΠ·Î·‰ËÌ·˚ο ˆ˜ ‚ÔËıfi˜ ηıËÁËÙ‹ ÛÙÔ ›‰ÈÔ ¶·ÓÂÈÛÙ‹ÌÈÔ Î·È ÌÂÙ¿
ÙËÓ ÂÈÛÙÚÔÊ‹ ÙÔ˘ ÛÙËÓ ∂ÏÏ¿‰· ÂÚÁ¿ÛÙËΠˆ˜ ÂχıÂÚÔ˜ ÛÎËÓÔı¤Ù˘ ·Ú·ÁˆÁfi˜ Û ÙËÏÂÔÙÈΤ˜ ÂÎÔÌ¤˜ ÛÙ· ÎÚ·ÙÈο ηӿÏÈ· Î·È ˆ˜ ÛÎËÓÔı¤Ù˘ ‰È·ÊËÌÈÛÙÈÎÒÓ Ù·ÈÓÈÒÓ. ∏ Ù·ÈÓ›· ÙÔ˘ «¶ÔÏ›ÙÈÎË ∫Ô˘˙›Ó·» ·¤Û·Û 8 ÎÚ·ÙÈο ‚Ú·‚›· ηÈ
ÙÔ ‚Ú·‚›Ԣ ÎÔÈÓÔ‡ ÛÙÔ ÊÂÛÙÈ‚¿Ï £ÂÛÛ·ÏÔӛ΢ ÙÔ˘ 2003 ηıÒ˜ Â›Û˘ Î·È ¤Î·Ó ÚÂÎfiÚ ÂÈÛÈÙËÚ›ˆÓ ·ÁÁ›˙ÔÓÙ·˜ Ù· 1.500.000 ÂÈÛÈÙ‹ÚÈ· ÛÙËÓ
∂ÏÏ¿‰· ÂÓÒ ¤¯ÂÈ ‹‰Ë Ô˘ÏËı› Û 36 ¯ÒÚ˜ ÛÙÔ
Â͈ÙÂÚÈÎfi.
√ ÛÎËÓÔı¤Ù˘, Û˘Óı¤Ù˘ Î·È Û˘ÁÁڷʤ·˜
Manuel Poutte ÁÂÓÓ‹ıËΠÙÔ 1963 ÛÙȘ µÚ˘Í¤ÏϘ Î·È ÛÔ‡‰·Û ÊÈÏÔÛÔÊ›· Î·È ÛÂÓ¿ÚÈÔ ÛÙÔ ÂΛ ·ÓÂÈÛÙ‹ÌÈÔ. ™ÙȘ ·Ú¯¤˜ ÙÔ˘ ’80 Ì ÙÔ cult
ÌÔ˘ÛÈÎfi Û˘ÁÎÚfiÙËÌ· "Bernthöler" Û˘Ó¤‚·ÏÂ
ÛÙËÓ ÈÛÙÔÚ›· ÙÔ˘ new wave ÛÙËÓ ∂˘ÚÒË. ∆Ô
1992 ›‰Ú˘Û ÙËÓ ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜ Ù·ÈÓÈÒÓ Lux
Fugit Film & Dolce Vita Films. ∏ ÚÒÙË ÙÔ˘ Ù·ÈÓ›· ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ "La Sensation" ‚Ú·‚‡ÙËÎÂ
Û ÔÏÏ¿ ÎÈÓËÌ·ÙÔÁÚ·ÊÈο ÊÂÛÙÈ‚¿Ï Î·È Â›¯Â
ÚÔÙ·ı› ÛÙÔ ÊÂÛÙÈ‚¿Ï ÙˆÓ ∫·ÓÓÒÓ ÁÈ· ÙÔ ÂȉÈÎfi
‚Ú·‚Â›Ô Ù˘ ÎÚÈÙÈ΋˜ ÂÈÙÚÔ‹˜. ™ÙË Û˘Ó¤¯ÂÈ·
ÛÎËÓÔı¤ÙËÛ ٷÈӛ˜ Ì˘ıÔÏ·Û›·˜ Î·È ÓÙÔÎÈÌ·ÓÙ¤Ú, ÔÈ Ôԛ˜ ·ÚÔ˘ÛÈ¿ÛÙËÎ·Ó Û ‰È¿ÊÔÚ· ÊÂÛÙÈ‚¿Ï Û fiÏÔ ÙÔÓ ÎfiÛÌÔ.
∆assos Boulmetis
He was born in Istanbul in 1957 and came to
Greece in 1964. He studied Physics at the University of Athens and Film & TV Direction and
Production at the University of California, LA (UCLA). He worked as professor’s assistant at the
same University and after his return to Greece
he worked as a freelance director and producer
for the state TV and as a director of commercials. He is the co-producer, scriptwriter and director of the feature film "A Touch of Spice", his
second feature film which was awarded 8 state
prizes and the public’s award at the Film Festival of Thessaloniki in 2003, and made a record
with 1.500.000 tickets sold in Greece, while it
has already been sold in 36 countries abroad.
12
ECOFILMS
ƒ√¢√™
2006
RODOS
Director, composer and writer Manuel Poutte
was born in 1963 in Brussels, where he studied
philosophy and scriptwriting. At the beginning
of the 80’s with the cult band "Bernthöler" he
contributed to the history of new wave in Europe. In 1992 he founded Lux Fugit Film and
Dolce Vita Films. His first short film "La Sensation" won numerous awards in film festivals and
was nominated for the Prix Spécial du Jury in
Cannes. He directed feature and documentary
films, that were screened in many film festivals
all over the world.
Jan Röfekamp
ª·Ú›· µ·ÛÈÏ¿ÎÔ˘
√ Jan Röfekamp ÁÂÓÓ‹ıËΠÛÙË ∑˘Ú›¯Ë Ù˘
∂Ï‚ÂÙ›·˜ Î·È ÌÂÁ¿ÏˆÛ ÛÙËÓ √ÏÏ·Ó‰›·, fiÔ˘
ÛÔ‡‰·Û ÛÙËÓ √ÏÏ·Ó‰È΋ ∞η‰ËÌ›· ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘. ∂ÚÁ¿ÛÙËΠÛÙË ‰È·ÓÔÌ‹ Ù·ÈÓÈÒÓ ·fi ÙÔ
1972 ̤¯ÚÈ ÙÔ 1982, fiÔ˘ Î·È ÌÂÙ·ÎfiÌÈÛ ÛÙÔÓ
∫·Ó·‰¿, ȉڇÔÓÙ·˜ ÂΛ ÙËÓ ÂÙ·ÈÚ›· Films
Transit, ¤Ó·Ó ·fi ÙÔ˘˜ ÈÔ ÂÈÊ·Ó›˜ ‰È·ÓÔÌ›˜
ÔÈÔÙÈÎÔ‡ ÓÙÔÎÈÌ·ÓÙ¤Ú ÛÙÔÓ ÎfiÛÌÔ. ∫¿ÔȘ ·fi
ÙȘ ÚfiÛÊ·Ù˜ Ù·Èӛ˜ ÛÙÔ ÚfiÁÚ·ÌÌ¿ ÙÔ˘˜ ›ӷÈ:
"The Corporation", "Metallica: Some Kind of
Monster", "Bukowski: Born into This", "Imaginary
Witness: Hollywood and the Holocaust", "The
President Versus David Hicks", Î·È "The Battle
for Our Minds". ∏ Films Transit ΤډÈÛ ÙÔ 2004
ÙÔ ‚Ú·‚Â›Ô Joris Ivens ÛÙÔ idfa (ÕÌÛÙÂÚÓÙ·Ì) ÁÈ·
ÙËÓ Ù·ÈÓ›· "Shape of the Moon". ∫·Ù¿ ÙË ‰È¿ÚÎÂÈ· Ù˘ ηÚȤڷ˜ ÙÔ˘ ¤¯ÂÈ Î¿ÓÂÈ ÙËÓ ·Ú·ÁˆÁ‹
Î·È ÙËÓ ÂÎÙ¤ÏÂÛË ·Ú·ÁˆÁ‹˜ Û ‰Âο‰Â˜ Ù·Èӛ˜.
°ÂÓÓ‹ıËΠÛÙËÓ ∞ı‹Ó· ÙÔ 1969. ™Ô˘‰¤˜ ͤӈÓ
ÁψÛÛÒÓ ÛÙË µÈ¤ÓÓË. ∫·Ù¿ ÙËÓ ‰È¿ÚÎÂÈ· ÙˆÓ
ÛÔ˘‰ÒÓ Ù˘ Û˘ÌÌÂÙ›¯Â ÛÙÔ ÊÔÈÙËÙÈÎfi ΛÓËÌ·
ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘ Ù˘ Î·È ÂÎϤ¯ıËΠÁÂÓÈ΋
ÁÚ·ÌÌ·Ù¤·˜. ∆ÂÏÂÈÒÓÔÓÙ·˜ ÙȘ ÛÔ˘‰¤˜ Ù˘ ‰Ô‡Ï„ Û ‰È¿ÊÔÚ· ·ÓÂÈÛÙËÌȷο ÚÔÁÚ¿ÌÌ·Ù·
ÂÚ¢ÓÒÓ Î·È ¤ÁÈÓ ̤ÏÔ˜ ÙˆÓ ¶Ú·Û›ÓˆÓ Ù˘ µÈ¤ÓÓ˘. Œ‚·Ï ˘Ô„ËÊÈfiÙËÙ· ÁÈ· ÙÔ ‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ Ù˘ µÈ¤ÓÓ˘ Î·È ÂÎϤ¯ıËÎÂ. ∆Ô 2001 ¤ÁÈÓÂ
¢ËÌÔÙÈ΋ ™‡Ì‚Ô˘ÏÔ˜ Î·È ÙÚ›· ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·
Úfi‰ÚÔ˜ ÙˆÓ ¶Ú·Û›ÓˆÓ ÛÙÔ ¢ËÌÔÙÈÎfi ™˘Ì‚Ô‡ÏÈÔ Ù˘ µÈ¤ÓÓ˘ Î·È ÂÈÎÂÊ·Ï‹˜ ˘Ô„‹ÊÈ·
ÁÈ· ÙȘ ÂfiÌÂÓ˜ ÂÎÏÔÁ¤˜. ∂›Ó·È ˘Ô˘ÚÁfi˜ ¿Ó¢
¯·ÚÙÔÊ˘Ï·Î›Ô˘ ÛÙËÓ √ÌfiÛÔÓ‰Ë ∫˘‚¤ÚÓËÛË
Ù˘ µÈ¤ÓÓ˘.
Jan Röfekamp was born in Zurich, Switzerland,
and grew up in Holland, where he attended the
Dutch Film Academy. He worked in film distribution from 1972 to 1982, when he moved to
Canada, where he founded Films Transit, one of
the worlds leading international distributors of
quality documentaries. Some of the company’s
recent releases are "The Corporation", "Metallica:
Some Kind of Monster", "Bukowski: Born into
This", "Imaginary Witness: Hollywood and the
Holocaust", "The President Versus David Hicks",
and "The Battle for Our Minds". Films Transit
won the Joris Ivens Award at the 2004 idfa (Amsterdam) for "Shape of the Moon". He has produced and executive produced dozens of films
throughout his career.
Maria Vassilakou
Born in Athens in 1969. Language studies in Vienna. In her student years, she was active in the
Austrian student body at the university and became secretary general. After completing her studies and working on various university research projects, she joined the Viennese
Greens. She ran for office for the Vienna City
Council elections and became a member of the
City Council. In 2001, she became a City Councillor of Vienna and three years later, Chairwoman of the Green Party in the Vienna City
Council and leading candidate for the coming
Viennese elections. She is a Minister without
portofolio in the City Council of Vienna.
ECOFILMS
ƒ√¢√™
2006
RODOS
13
∫ƒπ∆π∫∏ ∂¶π∆ƒ√¶∏ ∆ ∞ π ¡ π ø ¡ ª ∂ ™ ∞ π √ À ª ∏ ∫ √ À ™
M E D I U M - L E N G T H F I L M S JURY
Hans Burgschmidt
∞˘Ù‹ ÙË ÛÙÈÁÌ‹ ˙ÂÈ ÛÙÔ ∆ÔÚfiÓÙÔ ÙÔ˘ ∫·Ó·‰¿.
À‹ÚÍÂ Û‡Ì‚Ô˘ÏÔ˜ Û ¿Óˆ ·fi 15 ÊÂÛÙÈ‚¿Ï
ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Û fiÏÔ ÙÔÓ ÎfiÛÌÔ, ÌÂٷ͇ ·˘ÙÒÓ Ù· ‰ÈÂıÓ‹ ÊÂÛÙÈ‚¿Ï ÙÔ˘ ∆ÔÚfiÓÙÔ, ÙÔ˘ ª·˚¿ÌÈ Î·È ÙÔ˘ ¡ÙÔ˘Ì¿È. ∂·ÁÁÂÏÌ·ÙÈο ÚÔ¤Ú¯ÂÙ·È
·fi ÙËÓ Ó·ÙÔ˘ÚÔ·ıËÙÈ΋ È·ÙÚÈ΋, ÙËÓ „˘¯ÔÏÔÁ›· Î·È ÙȘ ÛÔ˘‰¤˜ ¿Óˆ ÛÙȘ ÂÈÙÒÛÂȘ ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ÛÙËÓ ˘Á›·. ¶ÔÏÈÙÈÎÔÔÈ‹ıËΠfiÙ·Ó
Û˘ÓÂȉËÙÔÔ›ËÛ fiÙÈ Ù· ÂÈÎÚ·ÙÔ‡ÓÙ· Û˘ÓÙËÚËÙÈο ̤۷ ·›˙Ô˘Ó ¤Ó· ÛËÌ·ÓÙÈÎfi ÚfiÏÔ ÛÙÔ Ó·
ÎÚ·ÙÔ‡Ó ÙÔ˘˜ ·ÓıÚÒÔ˘˜ ·ÓÂÓË̤ڈÙÔ˘˜ Û¯ÂÙÈο Ì ٷ ÈÔ ÎÚ›ÛÈÌ· ı¤Ì·Ù·. ∆Ô 1998 ›‰Ú˘ÛÂ
Î·È ‰Èˇı˘Ó ÙËÓ Undercurrents Collective, Ì›·
ÔÚÁ¿ÓˆÛË ÂÚÁ·˙ÔÌ¤ÓˆÓ ÛÙ· ̤۷ ÂÓË̤ڈÛ˘
Ô˘ Â›Ó·È ·ÊÔÛȈ̤ÓÔÈ ÛÙËÓ ·Ú·ÁˆÁ‹ ηÈÓÔÙfïÓ, ÎÔÈÓˆÓÈÎÒÓ Î·È ÂÚÈ‚·ÏÏÔÓÙÈÎÒÓ ÓÙÔÎÈÌ·ÓÙ¤Ú ÁÈ· ÙÔ Ú·‰ÈfiʈÓÔ Î·È ÙËÓ ÙËÏÂfiÚ·ÛË.
∞˘Ù‹ ÙË ÛÙÈÁÌ‹ ÙÔ ÂӉȷʤÚÔÓ ÙÔ˘ ÂÛÙÈ¿˙ÂÙ·È
ÛÙËÓ Î·Ù·ÓfiËÛË Î·È ÌÂÙ¿‰ÔÛË Ù˘ „˘¯ÔÏÔÁÈ΋
ÏÂ˘Ú¿˜ ·˘ÙÔ‡ Ô˘ οÓÂÈ ÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ó·
ηٷÛÙÚ¤ÊÔ˘Ó ÙËÓ Û¯¤ÛË ÙÔ˘˜ Ì ÙÔ ÂÚÈ‚¿ÏÏÔÓ
Î·È ÙȘ ÌÂٷ͇ ÙÔ˘˜ Û¯¤ÛÂȘ. ™ÙÔÓ ÂχıÂÚfi ¯ÚfiÓÔ ÙÔ˘ ¯Ù›˙ÂÈ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘˜.
Currently living in Toronto, Canada, he has
been a consultant to over 15 film festivals
worldwide among them with the Toronto, Miami and Dubai Intl. Film Festivals. Coming from a
background in Naturopathic Medicine, psychology and studies in environmental impacts on
health, he became politically active when he realized that the mainstream conservative media
played a major role in keeping people uninformed about the most critical issues. In 1998,
he founded and directed the Undercurrents
Collective, an organization of media workers
committed to producing cutting edge social
and environmental documentaries for radio
and television. His current focus is on understanding and communicating the psychological
aspects of what causes humans to destroy their
relationships with the environment and with
each other. In his spare time he builds cinemas.
14
ÃÚ‹ÛÙÔ˜ ¢Ô˘ÏÎÂÚ›‰Ë˜
Katarina Peters
°ÈÔ˜ ∂ÏÏ‹ÓˆÓ ÌÂÙ·Ó·ÛÙÒÓ, ÁÂÓÓ‹ıËÎÂ Î·È ÌÂÁ¿ÏˆÛ ÛÙÔ µ¤ÏÁÈÔ. ∞fi ÓˆÚ›˜ ÂӉȷʤÚıËΠÁÈ·
ÙËÓ ÔÏÈÙÈ΋ Î·È ¤ÁÈÓ ̤ÏÏÔ˜ ÙÔ˘ ÎfiÌÌ·ÙÔ˜ ÙˆÓ
¶Ú·Û›ÓˆÓ ÙÔ˘ µÂÏÁ›Ô˘, ECOLO. ∞fi ÙÔ 1999 ÂÎϤÁÂÙ·È ‚Ô˘ÏÂ˘Ù‹˜ Ì ÙÔ˘˜ ¶Ú¿ÛÈÓÔ˘˜ Î·È ÙÔ
2004 ¤ÁÈÓ Úfi‰ÚÔ˜ ÙÔ˘ Á·ÏÏfiʈÓÔ˘ ÎÔÈÓÔ‚Ô˘Ï›Ô˘ ÙˆÓ µÚ˘ÍÂÏÒÓ. ∆· ÔÏÈÙÈο ÙÔ˘ ÂӉȷʤÚÔÓÙ· ÂÈÎÂÓÙÚÒÓÔÓÙ·È ÌÂٷ͇ ¿ÏÏˆÓ ÛÙ· ‰ÈηÈÒÌ·Ù· ÙˆÓ ÌÂÈÔÓÔÙ‹ÙˆÓ Î·È Û ı¤Ì·Ù· ÂÚÈ‚¿ÏÏÔÓÙÔ˜.
°ÂÓÓ‹ıËΠÙÔ 1958 ÛÙÔ ∞Ì‚Ô‡ÚÁÔ. ™Ô‡‰·ÛÂ
ÁÏ˘ÙÈ΋, ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ Î·È ÂÚÊfiÚÌ·Ó˜ ÛÙÔ
San Fancisco Art Institute Î·È √ÙÈΤ˜ ∂ÈÎÔÈӈӛ˜ ÛÙÔ µÂÚÔÏ›ÓÔ. ªÂÙ¿ ÙȘ ÛÔ˘‰¤˜ Ù˘ ÂÚÁ¿ÛÙËΠˆ˜ ˯ÔÏ‹Ù˘ Î·È ÛÎËÓÔÁÚ¿ÊÔ˜ ÁÈ· ÙÔ ı¤·ÙÚÔ, ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ Î·È ÙËÓ ÙËÏÂfiÚ·ÛË.
ŒÚÁ· Ù˘ ¤¯Ô˘Ó ÂÎÙÂı› ÛÙË °ÂÚÌ·Ó›· Î·È ÙȘ
∏¶∞. ∞fi ÙÔ 1981 ˙ÂÈ Î·È ÂÚÁ¿˙ÂÙ·È ÛÙÔ µÂÚÔÏ›ÓÔ. ∆Ô 1986 ›‰Ú˘Û ÙËÓ ÂÙ·ÈÚ›· Katarina Peters
Filmproduktion. ªÂÙ¿ ·fi ‰È¿ÊÔÚ˜ ÂÈÚ·Ì·ÙÈΤ˜ Ù·Èӛ˜ Û˘ÌÂÚÈÏ·Ì‚·ÓÔÌ¤ÓˆÓ ÙˆÓ "At the
Edge of the Earth" (1986) Î·È "Green Iguanas"
(1994), Á‡ÚÈÛ ÙÔ ÚÒÙÔ Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú,
"Stroke" (2004), ÙÔ ÔÔ›Ô ·ÚÔ˘ÛÈ¿ÛÙËÎÂ ÛÙÔ
ÊÂÛÙÈ‚¿Ï Ecofilms ÙÔ 2005.
Christos Doulkeridis
Son of Greek immigrants was born and raised in
Belgium. Politics interested him from his young
years, and he became a member of the "Green"
Party of Belgium, ECOLO. In 1999 he became
debyty for ECOLO at the Brussel Parlament and
since 2004 he is president of the French speaking Parliament. His main politic interests concentrate among others in matters of minority
rights and environmental subjects.
ECOFILMS
ƒ√¢√™
2006
RODOS
Katarina Peters was born 1958 in Hamburg. She
studied sculpture, film and performance at the
San Fancisco Art Institute and Visual Communication in Berlin. After that sound engineer and
set designer for theatre, film and television. Numerous exhibitions in Germany and the USA. Since 1981 she has been living and working in
Berlin. In 1986 she founded Katarina Peters
Filmproduktion. After several experimental
films including "At the Edge of the Earth" (1986)
and "Green Iguanas" (1994), "Stroke" is her first
documentary, which was screened at the Ecofilms festival in 2005.
∫ƒπ∆π∫∏ ∂¶π∆ƒ√¶∏
SHORT FILMS
∆∞π¡πø¡ ªπ∫ƒ√À ª∏∫√À™
JURY
Marco Gaudenzi.
Bahij Hojeij
°È¿ÓÓ˘ §ÂÔÓÙ¿Ú˘
°ÂÓÓ‹ıËΠÛÙÔ ¶¤˙·ÚÔ ÙÔ 1949. ™Ô‡‰·Û ∞Ú¯ÈÙÂÎÙÔÓÈ΋ ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ Ù˘ ƒÒÌ˘ ÙÔ 1976,
Î·È Ë ‰Èψ̷ÙÈ΋ ÙÔ˘ ÂÚÁ·Û›· ›¯Â ÙÔÓ Ù›ÙÏÔ:
«™˘ÁÎÚfiÙËÌ· ηÙÔÈÎÈÒÓ ÁÈ· ÙÔ˘˜ ËÏÈÎȈ̤ÓÔ˘˜
ÛÙÔ ¶¤˙·ÚÔ». ∞fi ÙÔ 1976, ‰ËÌÈÔ‡ÚÁËÛ ÂÚ›Ô˘ 150 ·Ú¯ÈÙÂÎÙÔÓÈο Û¯¤‰È· Û fiÏÔ˘˜ ÙÔ˘˜ ÙÔÌ›˜ ·ÛÙÈÎÒÓ Î·È ‚ÈÔÌ˯·ÓÈÎÒÓ ÂÚÈÔ¯ÒÓ, Û˘ÌÂÚÈÏ·Ì‚·ÓÔ̤Ó˘ Î·È Ù˘ ηٷÛ΢‹˜ ÂÓfi˜
ÂÈÚ·Ì·ÙÈÎÔ‡ ı¿ÙÚÔ˘ ÛÙËÓ ¶ÔÓÙÂÓÙ¤Ú·. ∞fi ÙÔ
1987, Â›Ó·È Ô Î·ÏÏÈÙ¯ÓÈÎfi˜ ‰È¢ı˘ÓÙ‹˜ ÛÙËÓ
Tonelli, ÚÔÛηÏÒÓÙ·˜ ۯ‰ȷÛÙ¤˜ Ù˘ Ê‹Ì˘
ÙˆÓ Isao Hosoe, De Pas, D’Urbino, Lomazzi ηÈ
Luigi Serafini. ∂ÚÁ¿˙ÂÙ·È ÂÚÈÛÙ·Ûȷο ÛÙÔ Û¯Â‰È·ÛÙÈÎfi ¯ÒÚÔ Î·È Û˘ÓÂÚÁ¿˙ÂÙ·È, Ì ÙËÓ Tonelli,
ÛÙË ‚ÈÔÌ˯·Ó›· Â›ψÓ, ÙË MFFM ÛÙÔÓ ÙÔ̤·
ÙÔ˘ ÎÔÛÌ‹Ì·ÙÔ˜ Î·È ÙËÓ Benelli ÁÈ· ΢ÓËÁËÙÈο
fiÏ·. ø˜ ̤ÏÔ˜ ÌÈ·˜ ¤Ú¢ӷ˜ ÁÈ· ÙËÓ ÎÈÓËÙÈÎfiÙËÙ·, ‰ËÌÈÔ‡ÚÁËÛ ·fi ÎÔÈÓÔ‡ Ì ÙÔÓ Isao Hosoe,
ÙË "Fluida", ¤Ó· Ù˘ÛÛfiÌÂÓÔ Ô‰‹Ï·ÙÔ.
ªÂÙ¿ ·fi ÛÔ˘‰¤˜ ı¿ÙÚÔ˘ Î·È ÊÈÏÔÛÔÊ›·˜ ÛÙË
µËÚ˘Ùfi Ô Bahij Hojeij ÛÔ‡‰·Û Ì ˘ÔÙÚÔÊ›·
ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ÛÙË °·ÏÏ›·, ÛÙÔ "Ecole Louis
Lumière", ÛÙÔ ·ÓÂÈÛÙ‹ÌÈÔ "Paris VIII" Î·È ÛÙÔ
"Ecole des Hautes Etudes en Sciences Sociales".
∂ÚÁ¿ÛÙËΠÛÙÔ §›‚·ÓÔ ÛÙÔ CRDP, ¤Ó· ÂÎ·È‰Â˘ÙÈÎfi ÙËÏÂÔÙÈÎfi ÔÚÁ·ÓÈÛÌfi, Î·È ÙÔ 1990 ¤ÁÈÓ ηıËÁËÙ‹˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙÔ πÓÛÙÈÙÔ‡ÙÔ ∫·ÏÒÓ
∆¯ÓÒÓ Ù˘ µËÚ˘ÙÔ‡. √ Bahij Hojeij ¤¯ÂÈ Î¿ÓÂÈ
ÔÏϤ˜ ÙËÏÂÔÙÈΤ˜ ÂÎÔÌ¤˜ fiˆ˜ Â›Û˘ ÓÙÔÎÈÌ·ÓÙ¤Ú, ÌÂٷ͇ ·˘ÙÒÓ ÙÔ "Beyrouth The Ruines
talk" (1993) Î·È ÙÔ "Kidnapped" (1998), ÙÔ ÔÔ›Ô
¤Ï·‚ ÙÔ ‚Ú·‚Â›Ô CMCA ÁÈ· ÙÔ Î·Ï‡ÙÂÚÔ ÌÂÛÔÁÂÈ·Îfi ÓÙÔÎÈÌ·ÓÙ¤Ú. ∆Ô 2004 ‹Ù·Ó ·Ú·ÁˆÁfi˜
Î·È ÛÎËÓÔı¤Ù˘ Ù˘ Ù·ÈÓ›·˜ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜
"Zennar El Nar" Ô˘ ‹Ú ̤ÚÔ˜ Û ÔÏÏ¿ ÊÂÛÙÈ‚¿Ï Î·È ¤Ï·‚ ÔÏÏ¿ ‚Ú·‚›·.
°ÂÓÓ‹ıËΠÛÙËÓ ∞ı‹Ó· ÙÔ 1965. ∂›Ó·È ·fiÊÔÈÙÔ˜
ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ (∆Ì‹Ì· §ÔÁÔÙ¯ӛ·˜) Î·È ¤Î·Ó ÙË ‰È‰·ÎÙÔÚÈ΋ ÙÔ˘ ‰È·ÙÚÈ‚‹
ÛÙË ™˘ÁÎÚÈÙÈ΋ §ÔÁÔÙ¯ӛ· ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ
Paris X-Nanterre. Œ¯ÂÈ ‰È‰¿ÍÂÈ Û ۯÔϤ˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘. ∂›Û˘ ¤¯ÂÈ ‰È‰¿ÍÂÈ ÏÔÁÔÙ¯ӛ· ÛÙÔ
Á˘ÌÓ¿ÛÈÔ. ∞fi ÙÔ 2000 ‰È‰¿ÛÎÂÈ ÈÛÙÔÚ›· Î·È ıˆڛ· ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙÔ ∆Ì‹Ì· £Â¿ÙÚÔ˘ ÙÔ˘
¶·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ Î·È ÛÙË ™¯ÔÏ‹
∫Ú·ÙÈÎÔ‡ £Â¿ÙÚÔ˘ µÔÚ›Ԣ ∂ÏÏ¿‰·˜ ÛÙË ¢Ú¿Ì·.
Œ¯Ô˘Ó ‰ËÌÔÛÈ¢Ù› ¿ÚıÚ· ÙÔ˘ Û ÏÔÁÔÙ¯ÓÈο
Î·È ÂÈÛÙËÌÔÓÈο ÂÚÈÔ‰Èο. ∂ÚÁ¿˙ÂÙ·È ˆ˜ ÛÎËÓÔı¤Ù˘ ·fi ÙÔ 1987. ∏ Ù·ÈÓ›· ÙÔ˘ «∂ÁÎÒÌÈÔ ‚Ú·‰‡ÙËÙ·˜» ‹Ú ÙÔ ¶ÚÒÙÔ ∫Ú·ÙÈÎfi µÚ·‚Â›Ô ¡ÙÔÎÈÌ·ÓÙ¤Ú 2002. ∆Ô 2005 ÛÎËÓÔı¤ÙËÛ ÁÈ· ÙÔ ı¤·ÙÚÔ ÙËÓ «∏ϤÎÙÚ·» ÙÔ˘ Hugo Von Hofmannsthal.
Was born in Pesaro in 1949. He graduated in architecture from the University of Rome in 1976,
with a thesis entitled: "A residential complex for
the elderly in Pesaro". Since 1976, he has created some 150 design projects for all areas of civil
and industrial building, including the building
of an experimental theatre in Pontedera. Since
1987, he has been the creator and art director
of Tonelli, bringing in designers such as Isao
Hosoe, De Pas, D’Urbino, Lomazzi and Luigi Serafini. In the design field, he works on occasional,
non-specific projects that have seen him collaborate with Tonelli in the furniture industry,
MFFM in the jewellery sector, and Benelli for
hunting rifles. As part of an overall research
project into mobility, which he carried out in
conjunction with Isao Hosoe, he created "Fluida", a "bag" bicycle.
Yannis Leontaris
After studying drama and philosophy in Beirut,
Bahij Hojeij was granted a stipend to study film
in France, where he attended the "Ecole Louis
Lumière", the University of "Paris VIII" and the
"Ecole des Hautes Etudes en Sciences Sociales".
He worked in Lebanon at the CRDP an educational TV organisation, and became a film professor at Beirut Fine Arts Institute in 1990. Bahij
Hojeij has made several TV broadcasts as well as
documentaries, among them "Beyrouth The Ruines talk" (1993) and "Kidnapped" (1998), which
earned the CMCA Prize for the best mediterraneen documentary. In 2004 he produced and
directed "Zennar El Nar"(Ring of fire) a feature
film which participated in several festivals and
was granted many awards.
Was born in Athens in 1965. He is a graduate of
the University of Thessaloniki (Department of
Literature) and holds a Ph.D. in Comparative Literature from the University of Paris X-Nanterre.
He has taught at film schools and has also
taught literature at high school. Since 2000 he
has been teaching history and film theory at the
University of Thessaloniki Theatre Department
and the National Theatre of North Greece Drama School. His articles have been published in
literary and science journals. He has been working as a film director since 1987. His film "Encomium: A Tribute to Slowness" received the State Award for Best Documentary in 2002. In
2005, he directed for the theatre "Electra" of
Hugo Von Hofmannsthal.
ECOFILMS
ƒ√¢√™
2006
RODOS
15
∫ƒπ∆π∫∏ ∂¶π∆ƒ√¶∏ ∆ ∞ π ¡ π ø ¡ ° π ∞ ∆ √ ¡ ∂ ƒ √ ∫ ∞ π ∆ √ À ™ À ° ƒ √ ∆ √ ¶ √ À ™
F I L M S O N W A T E R A N D W E T L A N D S JURY
Salvador Aguirre
Sergio Illuminato
Tony Long
°ÂÓÓ‹ıËΠÙÔ 1965 ÛÙÔ ªÂÍÈÎfi. ™Ô‡‰·Û ÛÙË
Û¯ÔÏ‹ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Centro de Capacitacifin
Cinematogrãafica. ™˘ÓÂÚÁ¿˙ÂÙ·È ˆ˜ ‚ÔËıfi˜ ÛÎËÓÔı¤ÙË Ì οÔÈÔ˘˜ ·fi ÙÔ˘˜ ÛËÌ·ÓÙÈÎfiÙÂÚÔ˘˜
ÌÂÍÈηÓÔ‡˜ Î·È Í¤ÓÔ˘˜ ÛÎËÓÔı¤Ù˜ fiˆ˜ Ô ºÂÏ› ∫·˙¿Ï˜, Ô ∞ÏÊfiÓÛÔ ∫Ô˘·ÚfiÓ, Ô ∞ÚÙÔ‡ÚÔ ƒ›ÛÙ·˚Ó Î·È Ô ƒ›ÓÙÏÂ˚ ™ÎÔÙ. ∆Ô 1998 Ë ÚÒÙË ÙÔ˘
Ù·ÈÓ›· "Bajo California. El L›mite del Tiempo"
ΤډÈÛ ÂÙ¿ ‚Ú·‚›· ∞ÚȤÏ. ∏ Ù·ÈÓ›· ÙÔ˘ "De Ida
y Vuelta" ÎÂÚ‰›˙ÂÈ ÔÏÏ¿ ‚Ú·‚›· ÌÂٷ͇ ·˘ÙÒÓ
Î·È ÙÔ ‚Ú·‚Â›Ô Î·Ï‡ÙÂÚ˘ Ù·ÈÓ›·˜ ÙÔ˘ ÊÂÛÙÈ‚¿Ï
Ù˘ °ÎÔ˘·ÓÙ·Ï·¯¿Ú·˜ Î·È ÙÔ ‚Ú·‚Â›Ô FIPRESCI
ÛÙÔ ª·Ú ÓÙ Ϸ ¶Ï¿Ù·. ∆Ô 2002 Ë Ù·ÈÓ›· ÙÔ˘ "De
Mesmer con Amor o Té para dos" ÎÂÚ‰›˙ÂÈ ÌÂٷ͇ ¿ÏÏˆÓ Î·È ÙÔ ‚Ú·‚Â›Ô Ù˘ 41˘ ∂‚‰ÔÌ¿‰·˜
∫ÚÈÙÈÎÒÓ ÛÙȘ ∫¿ÓÓ˜. ∆Ô 2001 ‰Èˇı˘Ó ÙËÓ
ÚÒÙË ‰ÈÂıÓ‹ ÂΉ‹ÏˆÛË ÁÈ· ÙÔ ÓÂÚfi Î·È ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ÛÙËÓ 4Ë ¶·ÁÎfiÛÌÈ· ™˘Ó‰È¿Û΄Ë
ÁÈ· ÙÔ ¡ÂÚfi. ∂›Ó·È ̤ÏÏÔ˜ ÙÔ˘ ∂ıÓÈÎÔ‡ ™˘Ó‰¤ÛÌÔ˘ ∫·ÏÏÈÙ¯ÓÒÓ FONCA.
∞fiÊÔÈÙÔ˜ ÏÔÁÔÙ¯ӛ·˜ Î·È ÊÈÏÔÛÔÊ›·˜ ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘ La Sapienza Ù˘ ƒÒÌ˘. ∞fi ÙÔ
1993 Â·ÁÁÂÏÌ·Ù›·˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜. °ÂÓÈÎfi˜
¢È¢ı˘ÓÙ‹˜ ÙÔ˘ ∫¤ÓÙÚÔ˘ ¶ÏËÚÔÊfiÚËÛ˘ ηÈ
∂ÈÎÔÈÓˆÓ›·˜ ÙÔ˘ ªÂÛÔÁÂÈ·ÎÔ‡ ™¯Â‰›Ô˘ ¢Ú¿Û˘
·fi ÙÔ 2004. ¢È¢ı˘ÓÙ‹˜ ÙÔ˘ Campus EcoMedia,
ÙÔ˘ Â›ÛËÌÔ˘ ÂÚÈÔ‰ÈÎÔ‡ Ù˘ ªÂÛÔÁÂȷ΋˜ ∂ÈÙÚÔ‹˜ ÁÈ· ÙË µÈÒÛÈÌË ∞Ó¿Ù˘ÍË. ∞fi ÙÔ 2001
̤¯ÚÈ ÙÔ 2004 ÚÔÒıËÛÂ Î·È Û˘ÓÙfiÓÈÛ Ùo ¢›ÎÙ˘Ô πÙ·ÏÈÎÒÓ ¢‹ÌˆÓ Î·È ¶ÂÚÈÊÂÚÂÈÒÓ ˘ÔÛÙ‹ÚÈ͢ Ù˘ UNEP, ÁÈ· ÙËÓ ÚÔÂÙÔÈÌ·Û›· ÙˆÓ ÚˆÙÔÎfiÏÏˆÓ Û¯ÂÙÈο Ì ÙËÓ ÚfiÏË„Ë Î·È ¤ÏÂÁ¯Ô
Ù˘ ÌfiÏ˘ÓÛ˘ Ù˘ ªÂÛÔÁ›Ԣ. ¶ÚÔ¤‰Ú¢Û ηÈ
‰ÈÔ›ÎËÛ ÂÚÈ‚·ÏÏÔÓÙÈÎÔ‡˜ ÌË Î˘‚ÂÚÓËÙÈÎÔ‡˜
ÔÚÁ·ÓÈÛÌÔ‡˜. ¶·Ú·ÁˆÁfi˜ Î·È ‰ÈÔÚÁ·ÓˆÙ‹˜
ÔÏÏÒÓ ÔÏÈÙÈÛÙÈÎÒÓ ÂΉËÏÒÛÂˆÓ Î·È ÊÂÛÙÈ‚¿Ï
ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘, fiˆ˜ Â›Û˘ ηÏÏÈÙ¯ÓÈÎfi˜ ı·ÙÚÈÎfi˜ ‰È¢ı˘ÓÙ‹˜ Î·È Û˘ÁÁڷʤ·˜ ‚È‚Ï›ˆÓ.
∞fi ÙÔ 1989 ‰È·ÙÂÏ› ‰È¢ı˘ÓÙ‹˜ ÙÔ˘ °Ú·Ê›Ԣ
∂˘Úˆ·˚΋˜ ¶ÔÏÈÙÈ΋˜ ÙÔ˘ WWF ÛÙȘ µÚ˘Í¤Ï˜.
∫·Ù¿ ÙÔ ·ÚÂÏıfiÓ ÂÚÁ¿ÛÙËÎÂ ÁÈ· ÙÔ WWF ÙÔ˘
∏ӈ̤ÓÔ˘ µ·ÛÈÏ›Ԣ Î·È ˆ˜ ˘ԉȢı˘ÓÙ‹˜ ÙÔ˘
™˘Ì‚Ô˘Ï›Ô˘ ¶ÚÔÛÙ·Û›·˜ Ù˘ ∞ÁÁÏÈ΋˜ À·›ıÚÔ˘ (CPRE) ÛÙÔ §ÔÓ‰›ÓÔ. ¢›‰·Í ÛÙÔ ∂˘Úˆ·˚Îfi ∫ÔÏϤÁÈÔ Ù˘ ªÚÈ˙ ÛÙÔ µ¤ÏÁÈÔ ¤Ó· ‰ÈÂÈÛÙËÌÔÓÈÎfi Ì¿ıËÌ· Û¯ÂÙÈο Ì ÙËÓ ÂÚÈ‚·ÏÏÔÓÙÈ΋
ÔÏÈÙÈ΋ ÛÙËÓ ∂˘Úˆ·˚΋ ŒÓˆÛË ˆ˜ ÂÈÛΤÙ˘
ηıËÁËÙ‹˜. ∂›Ó·È ̤ÏÏÔ˜ Û ‰È¿ÊÔÚ· Û˘Ì‚Ô‡ÏÈ·, ÌÂٷ͇ ·˘ÙÒÓ ÛÙÔ ∫¤ÓÙÚÔ ∫ÔÈÓˆÓÈ΋˜ Î·È √ÈÎÔÓÔÌÈ΋˜ ŒÚ¢ӷ˜ ÁÈ· ÙÔ ¶·ÁÎfiÛÌÈÔ ¶ÂÚÈ‚¿ÏÏÔÓ (CSERGE), ÛÙÔ ›‰Ú˘Ì· EurActiv, ÛÙÔ ∂˘Úˆ·˚Îfi ∫¤ÓÙÚÔ ¢ËÌÔÛ›ˆÓ ÀÔı¤ÛˆÓ, ÛÙÔ ∫¤ÓÙÚÔ
∂˘Úˆ·˚΋˜ ¶ÔÏÈÙÈ΋˜ Î·È ÙÔ ™˘Ì‚Ô‡ÏÈÔ ÙÔ˘
WWF ÛÙËÓ ∂ÏÏ¿‰·.
México 1965. Studies in the Film School Centro
de Capacitacifin Cinematogrãafica. He works as
asistant director to some of the most important
mexican and foreign directors as : Felipe Cazals,
Alfonso Cuarfin, Arturo Ripstein and Ridley
Scott. In 1998 his first work as producer "Bajo
California. El L›mite del Tiempo" wins 7 Ariels.
His film "De Ida y Vuelta" wins many important
prices such as the Best Movie XV Guadalajara
Fim Festival and the FIPRESCI in Mar del Plata. In
2002 his short "De Mesmer con Amor o Té para
dos" wins among other awards 41. Semaine de
la Critique in Cannes. In 2006 he directed the
1st International Water & Film Event in the IV
Worls Water Forum. He is a member of the National System of Artist FONCA.
16
Literature and Philosophy graduate at the University of Rome "La Sapienza". Since 1993 professional journalist. General Director of the Information and Communication Centre of the
Mediterranean Action Plan since 2004. Executive Director of "Campus EcoMedia", the official
magazine of the Mediterranean Commission for
Sustainable Development. From 2001 to 2004
he promoted and coordinated the network of Italian Municipalities and Regions in support of
UNEP, for the preparation of protocols on the
prevention and monitoring of pollution in the
Mediterranean Sea. He presided over and ran
non-governmental organizations with an environmental focus. Producer and organiser of numerous cultural events and television and film
festivals, he also has previous experience as an
artistic theatre director and book author.
ECOFILMS
ƒ√¢√™
2006
RODOS
Since 1989 director of the WWF European Policy
Office in Brussels. Previously he worked for WWF
in the United Kingdom and as assistant director
at the Council for the Protection of Rural England
(CPRE) in London. He was visiting professor at
the College of Europe in Bruges, Belgium, teaching an interdisciplinary course on EU environmental policy-making. He currently serves on
several advisory boards among them:- the Centre for Social and Economic Research on the
Global Environment (CSERGE); the EurActiv
Foundation; the European Centre for Public Affairs; the European Policy Centre; and, the Board
of WWF Greece.
∫ƒπ∆π∫∏ ∂¶π∆ƒ√¶∏
GREEK FILMS
∂§§∏¡π∫ø¡ ∆∞π¡πø¡
JURY
∫ÒÛÙ·˜ π‚¿Ó °ÂˆÚÁÈ¿‰Ë˜
°È¿ÓÓ˘ §ÂÔÓÙ¿Ú˘
¢ËÌ‹ÙÚ˘ ¶··ˆÓÛÙ·ÓÙ‹˜
°ÂÓÓ‹ıËΠÛÙË ª·ÛÛ·Ï›·, °·ÏÏ›·. ∂›Ó·È Ù˘¯ÈÔ‡¯Ô˜ √ÈÎÔÓÔÌÈÎÒÓ ÂÈÛÙËÌÒÓ ¶·ÓÂÈÛÙËÌ›Ô˘
°ÎÚÂÓfiÌÏ Î·È ·Û¯ÔÏÂ›Ù·È Ì ÍÂÓÔ‰Ô¯ÂȷΤ˜ ÂȯÂÈÚ‹ÛÂȘ. ¢ÈÂÙ¤ÏÂÛ ̤ÏÔ˜ ÁÈ· ÔÎÙÒ ¯ÚfiÓÈ· ÙÔ˘
¢.™. ÙÔ˘ ¶ÔÏÈÙÈÛÙÈÎÔ‡ √ÚÁ·ÓÈÛÌÔ‡ ¢‹ÌÔ˘ ƒfi‰Ô˘
(¶.√.¢.ƒ.), ·Û¯ÔÏÔ‡ÌÂÓÔ˜ ΢ڛˆ˜ Ì ÙÔÓ ÙÔ̤·
ÙÔ˘ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘. ª¤ÏÔ˜ ÙÔ˘ ¢.™. Ù˘ ∫ÈÓËÌ·ÙÔÁÚ·ÊÈ΋˜ §¤Û¯Ë˜ ƒfi‰Ô˘ ·fi ÙË ‰ÂηÂÙ›· ÙÔ˘
‘80 Î·È °Ú·ÌÌ·Ù¤·˜ ηÙfiÈÓ Ù˘ ∫ÈÓËÌ·ÙÔÁÚ·ÊÈ΋˜ ∂Ù·ÈÚ›·˜ «£¤·ÛȘ», Ô˘ ·ÔÙÂÏ› Ô˘ÛÈ·ÛÙÈο
Û˘Ó¤¯ÂÈ· Ù˘ ∫.§.ƒ. ªÂÙ›¯Â Ù·ÎÙÈο Û·Ó ·ÓÙÈÚfiÛˆÔ˜ Ù˘ ∫.§.ƒ. ÛÙ· Û˘Ó¤‰ÚÈ· Ù˘ √.∫.§.∂. (√ÌÔÛÔÓ‰›· ∫.§. ∂ÏÏ¿‰·˜). µÔ‹ıËÛ ÛÙÔÓ Î‡ÎÏÔ Ì·ıËÌ¿ÙˆÓ ÁÈ· ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ Ô˘ ‰ÈÔÚÁ¿ÓˆÛÂ
ÙËÓ ÂÚ›Ô‰Ô 2005-2006 Ë «£¤·ÛȘ», ÂȉÈÎfiÙÂÚ·
ÛÙËÓ πÛÙÔÚ›· ÙÔ˘ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘. ªÂÙ›¯Â Ù·
‰‡Ô ÚÔËÁÔ‡ÌÂÓ· ¯ÚfiÓÈ· ÛÙËÓ ÂÈÙÚÔ‹ Ô˘ ·¤ÓÂÈÌ ٷ ‚Ú·‚›· ÎÔÈÓÔ‡ ÛÙÔ ÊÂÛÙÈ‚¿Ï Ecofilms.
°ÂÓÓ‹ıËΠÛÙËÓ ∞ı‹Ó· ÙÔ 1965. ∂›Ó·È ·fiÊÔÈÙÔ˜
ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ (∆Ì‹Ì· §ÔÁÔÙ¯ӛ·˜) Î·È ¤Î·Ó ÙË ‰È‰·ÎÙÔÚÈ΋ ÙÔ˘ ‰È·ÙÚÈ‚‹
ÛÙË ™˘ÁÎÚÈÙÈ΋ §ÔÁÔÙ¯ӛ· ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ
Paris X-Nanterre. Œ¯ÂÈ ‰È‰¿ÍÂÈ Û ۯÔϤ˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘. ∂›Û˘ ¤¯ÂÈ ‰È‰¿ÍÂÈ ÏÔÁÔÙ¯ӛ· ÛÙÔ
Á˘ÌÓ¿ÛÈÔ. ∞fi ÙÔ 2000 ‰È‰¿ÛÎÂÈ ÈÛÙÔÚ›· Î·È ıˆڛ· ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙÔ ∆Ì‹Ì· £Â¿ÙÚÔ˘ ÙÔ˘
¶·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ Î·È ÛÙË ™¯ÔÏ‹
∫Ú·ÙÈÎÔ‡ £Â¿ÙÚÔ˘ µÔÚ›Ԣ ∂ÏÏ¿‰·˜ ÛÙË ¢Ú¿Ì·.
Œ¯Ô˘Ó ‰ËÌÔÛÈ¢Ù› ¿ÚıÚ· ÙÔ˘ Û ÏÔÁÔÙ¯ÓÈο
Î·È ÂÈÛÙËÌÔÓÈο ÂÚÈÔ‰Èο. ∂ÚÁ¿˙ÂÙ·È ˆ˜ ÛÎËÓÔı¤Ù˘ ·fi ÙÔ 1987. ∏ Ù·ÈÓ›· ÙÔ˘ «∂ÁÎÒÌÈÔ ‚Ú·‰‡ÙËÙ·˜» ‹Ú ÙÔ ¶ÚÒÙÔ ∫Ú·ÙÈÎfi µÚ·‚Â›Ô ¡ÙÔÎÈÌ·ÓÙ¤Ú 2002. ∆Ô 2005 ÛÎËÓÔı¤ÙËÛ ÁÈ· ÙÔ ı¤·ÙÚÔ ÙËÓ «∏ϤÎÙÚ·» ÙÔ˘ Hugo Von Hofmannsthal.
°ÂÓÓ‹ıËη ÙÔ 1938 ÛÙËÓ ∞ÏÂÍ¿Ó‰ÚÂÈ· ∞ÈÁ‡ÙÔ˘.
∞fi ÙÔ 1965 ¢È¢ı˘ÓÙ‹˜ ºˆÙÔÁÚ·Ê›·˜ 70 Ù·ÈÓÈÒÓ ·fi ÙȘ Ôԛ˜ 20 ¤Á¯ÚˆÌ˜. ∆Ô 1974 ÛÎËÓÔıÂÙÒ ÙËÓ ÚÒÙË ÌÔ˘ Ù·ÈÓ›· ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜
«√ÏÔη‡ÙˆÌ·». ∞ÎÔÏÔ˘ıÔ‡Ó 3 Ù·Èӛ˜ ÌÂÁ¿ÏÔ˘
Ì‹ÎÔ˘˜. 1992. ™ÎËÓÔı¤Ù˘ Ù˘ ÛÂÈÚ¿˜ «∞·Ú¿‰ÂÎÙÔÈ» Î·È ·ÎÔÏÔ˘ıÔ‡Ó 18 ÛÂÈÚ¤˜ ÁÈ· ÙËÓ ∂∆,
ÙÔÓ ∞¡∆1 Î·È ÙÔ MEGA. µÚ·‚›· ʈÙÔÁÚ·Ê›·˜
ºÂÛÙÈ‚¿Ï £ÂÛÛ·ÏÔӛ΢. ¶ÚˆÙÔÂÌÊ·ÓÈ˙fiÌÂÓÔ˘
ÛÎËÓÔı¤Ù˘ ºÂÛÙÈ‚¿Ï £ÂÛÛ·ÏÔӛ΢. Œ·ÈÓÔ˜
ºÂÛÙÈ‚¿Ï Chicago ÁÈ· ÙË ÊˆÙÔÁÚ·Ê›· ÛÙËÓ Ù·ÈÓ›· ÙÔ˘ ∂ÚÚ›ÎÔ˘ ∞Ó‰Ú¤· «¢È¯·ÛÌfi˜».
Kostas Ivan Georgiadis
Was born in Athens in 1965. He is a graduate of
the University of Thessaloniki (Department of
Literature) and holds a Ph.D. in Comparative Literature from the University of Paris X-Nanterre.
He has taught at film schools and has also
taught literature at high school. Since 2000 he
has been teaching history and film theory at the
University of Thessaloniki Theatre Department
and the National Theatre of North Greece Drama School. His articles have been published in
literary and science journals. He has been working as a film director since 1987. His film "Encomium: A Tribute to Slowness" received the State Award for Best Documentary in 2002. In
2005, he directed for the theatre "Electra" of
Hugo Von Hofmannsthal.
Born in Marseilles, France. He studied economics
at the University of Grenoble, and now he is in
the hotel business. For eight years he was a
board member of the Organization for Culture of
the Municipality of Rodos, dealing mainly with
cinema subjects. Member of the board of the
Cinema Club of Rodos since the 80’s, and later
secretary of the cinema company "Theasis",
which replaced the Cinema Club. He regularly
participated as representative of the Cinema
Club in the congresses of the Cinema Club Union
of Greece. He assisted the organization of Cinema Courses, especially the courses of Cinema
History, organized by "Theasis" in 2005-2006.
During the previous two Ecofilms festivals he
was part of the committee that granted the public award.
Yannis Leontaris
Dimitris Papakonstantis
I was born in 1938 in Alexandria, Egypt. Director
of photography since 1965 in 70 films, 20 of
them in color. In 1974 I direct my first feature
film "Holocaust". Three more feature films follow. 1992. Director of the TV-series "Aparadektoi", 18 TV-series for ERT, Antenna and Mega follow. Thessaloniki Film Festival Award for Photography. Thessaloniki Film Festival Award for
Best New Director. Special Praise for the photography of the film "Dichasmos" by Erikos Andreas at the Chicago Festival.
ECOFILMS
ƒ√¢√™
2006
RODOS
17
¢È·ÁˆÓÈÛÙÈÎfi
Competition
∆∞π¡π∂™ ª∂°∞§√À ª∏∫√À™ FEATURE-LENGTH FILMS
20
22
24
26
28
30
32
34
36
38
40
42
44
∞§-°∫∞∑∞§π: √ ∞§Ã∏ªπ™∆∏™ ∆∏™ ∂À∆ÀÃπ∞™
AL-GHAZALI: ALCHEMIST OF HAPPINESS
∆∏¡ ∫∞∆∞§§∏§∏ ™∆π°ª∏
AL MOMENTO GIUSTO / AT THE RIGHT TIME
√¡∂πƒ∞ ∫Aπ ∞ƒπ£ª√π
DREAMING BY NUMBERS
∞¶√∏Ã√π ¶√§∂ª√À
ECHOES OF WAR
∂™∆∞ªπƒ∞
ESTAMIRA
∏ ª∂°∞§∏ ∫∞∆∞£§πæ∏
DIE GROSSE DEPRESSION / THE GREAT DEPRESSION
§√À¡∆ªπ§∞ ∫∞π ∞¡∞∆√§π
LJUDMILA & ANATOLIJ
ª∞¡∞-¶∂ƒ∞ ∞¶√ ∆∏¡ ¶π™∆∏
MANA-BEYOND BELIEF
ª¡∏ª∏ À¶√ ∫ƒ∞∆∏™∏
MÉMOIRE EN DÉTENTION / MEMORY IN DETENTION
™∞ª¶∞
SABA
∆√ µπµ§π√ ∆ø¡ ƒ∂∫√ƒ ∆∏™ ™√À∆∫∞
KNJIGA REKORDA SHUTKE
THE SHUTKA BOOK OF RECORDS
¶∏°∏
ZDROJ / SOURCE
¶∂ƒ∞ ∞¶√ ∫∞£∂ §√°π∫∏
SURREAL
∞§-°∫∞∑∞§π: √ ∞§Ã∏ªπ™∆∏™ ∆∏™ ∂À∆ÀÃπ∞™
AL-GHAZALI: ALCHEMIST OF HAPPINESS
∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ UK, 2004
¢È¿ÚÎÂÈ· Running time: 80’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Yasin Salazar
Matmedia Productions Ltd.
119 Charterhouse Street
London EC1M 6AA
United Kingdom
Tel: +44 (0) 207 608 0842
Fax +44 (0) 207 490 2082
[email protected]
www.matmedia.org
™ÎËÓÔı¤Ù˘, ¶·Ú·ÁˆÁfi˜
Director, Producer:
Ovidio Salazar
∫¿ÌÂÚ· Camera: Mahmoud Kalari
ªÔÓÙ¿˙ Edit: Gabriela Enis
∫·ÏÏÈÙ¯ÓÈ΋ ¢È‡ı˘ÓÛË
Art Director: Malak D. Khazai
ªÔ˘ÛÈ΋ Music: Dirk Campbell
™ÂÓ¿ÚÈÔ Script: Simon van der Borgh
◊¯Ô˜ Sound: Eraj Shahzadi
Y‡ı˘ÓÔ˜ ¶·Ú·ÁˆÁ‹˜
Line Producer: Eddie Babbage
¢È‡ı˘ÓÛË ¶·Ú·ÁˆÁ‹˜
Production Manager:
Mohammad Sadrzadeh
∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜
Executive Producers:
P.S. Gilders, T.J. Winter
∏ıÔÔÈÔ› Cast: Ghorban Nadjafi,
Robert Powell, Dariush Arjmand,
Mitra Hajjar, Abol Reza Kermani
20
™‡ÓÔ„ËSynopsis
¢ÈÂÚ¢ÓÒÓÙ·˜ ÙË ˙ˆ‹ Î·È ÙËÓ ·‹¯ËÛË ÙÔ˘ ÌÂÁ·Ï‡ÙÂÚÔ˘ ÓÂ˘Ì·ÙÈÎÔ‡ Î·È ÓÔÌÈÎÔ‡ ÊÈÏÔÛfiÊÔ˘
ÛÙËÓ ÈÛÙÔÚ›· ÙÔ˘ πÛÏ¿Ì, Ë Ù·ÈÓ›· ÂÍÂÙ¿˙ÂÈ ÙËÓ ˘·ÚÍȷ΋ ÎÚ›ÛË Ù˘ ›ÛÙ˘ ÙÔ˘ °Î·˙¿ÏÈ, Ô˘ ÚԤ΢„ ·fi ÙËÓ ·fiÚÚÈ„Ë ÙÔ˘ ıÚËÛ΢ÙÈÎÔ‡ Ê·Ó·ÙÈÛÌÔ‡, Î·È ·ÔηχÙÂÈ ÚÔÊ·Ó›˜ ·Ú·ÏÏËÏÈÛÌÔ‡˜ Ì ÙËÓ ÂÔ¯‹ Ì·˜. √ °Î·˙¿ÏÈ ¤ÁÈÓ ÁÓˆÛÙfi˜ ˆ˜ ∆Ô ∆ÂÎÌ‹ÚÈÔ ÙÔ˘ πÛÏ¿Ì, Î·È ÙÔ ÌÔÓÔ¿ÙÈ ·Á¿˘ Î·È ÓÂ˘Ì·ÙÈ΋˜ ·ÓˆÙÂÚfiÙËÙ·˜ Ô˘ ¯¿Ú·ÍÂ, ÍÂ¤Ú·Û ÙÔ˘˜ ÎÚ˘ÊÔ‡˜ ÎÈÓ‰‡ÓÔ˘˜ Ù˘ ÔÚÁ·ÓˆÌ¤Ó˘ ıÚËÛΛ·˜ Ù˘ ÂÔ¯‹˜ ÙÔ˘. √ ‰ÚfiÌÔ˜ Ô˘ ¯¿Ú·Í ÂÁηٷÏ›ÊıËΠηٿ ÌÂÁ¿ÏÔ Ì¤ÚÔ˜ ·fi ÙÔ˘˜ ªÔ˘ÛÔ˘ÏÌ¿ÓÔ˘˜ ÌÂÙ·ÚÚ˘ıÌÈÛÙ¤˜ ÙˆÓ ·Ú¯ÒÓ ÙÔ˘ ÂÈÎÔÛÙÔ‡ ·ÈÒÓ· ÁÈ· ÙËÓ ·˘ÛÙËÚfiÙÂÚË
Î·È ÏÈÁfiÙÂÚÔ ·ÓÂÎÙÈ΋ Û¯ÔÏ‹ ÙÔ˘ πÌÓ ∆·˚Ì›ÁÈ·. ∞˘Ù‹ Ë Ù·ÈÓ›· ˘ÔÛÙËÚ›˙ÂÈ fiÙÈ ÙÔ πÛÏ¿Ì ÙÔ˘ °Î·˙¿ÏÈ Â›Ó·È ÙÔ ·ÓÙ›‰ÔÙÔ ÁÈ· ÙË ÛËÌÂÚÈÓ‹ ÙÚÔÌÔÎÚ·Ù›·.
Exploring the life and impact of the greatest spiritual and legal philosopher in Islamic history,
this film examines Ghazali's existential crisis of faith that arose from his rejection of religious fanaticism, and reveals profound parallels with our own times. Ghazali became known as the
Proof of Islam and his path of love and spiritual excellence overcame the pitfalls of the organised religion of his day. His path was largely abandoned by early 20th century Muslim reformers
for the more strident and less tolerant school of Ibn Taymiyya. This film argues that Ghazali's Islam is the antidote for today's terror.
ECOFILMS
ƒ√¢√™
2006
RODOS
Ovidio Salazar
°ÂÓÓ‹ıËΠÛÙËÓ ∫·ÏÈÊfiÚÓÈ·, Î·È ·Û¯ÔÏÂ›Ù·È Ì ٷÈӛ˜ ÓÙÔÎÈÌ·ÓÙ¤Ú Â‰Ò Î·È Â›ÎÔÛÈ ¤ÓÙ ¯ÚfiÓÈ·. ªÂÙ¿ ·fi
ÛÔ˘‰¤˜ ı¿ÙÚÔ˘ Î·È ÂÚÊfiÚÌ·Ó˜ ÛÙÔ §Ô˜ ÕÓÙ˙ÂϘ Î·È ÛÙË ¡¤· ÀfiÚÎË ÙÔ ÂӉȷʤÚÔÓ ÙÔ˘ ÁÈ· ÙÔ ™Ô˘ÊÈÛÌfi ÙÔÓ
Ô‰‹ÁËÛ ÛÙËÓ ∂˘ÚÒË Î·È ÙË ª¤ÛË ∞Ó·ÙÔÏ‹, fiÔ˘ ¤Î·Ó ÛÔ˘‰¤˜ ÛÙËÓ ·Ú·‚È΋ ÁÏÒÛÛ· Î·È ÛÙÔ πÛÏ¿Ì ÛÂ
§ÔÓ‰›ÓÔ Î·È ∫¿ÈÚÔ. °È· ‰‡Ô ¯ÚfiÓÈ· ‹Ù·Ó ·Ú·ÁˆÁfi˜ Ù˘ ÛÂÈÚ¿˜ ÙÔ˘ BBC «¶ÚfiÛˆ· ÙÔ˘ πÛÏ¿Ì». KÈÓËÌ·ÙÔÁÚ¿ÊËÛ ÙÔ ÚÔÛ·ÓËÌ· ÛÙË ª¤Îη ·ÚÎÂÙ¤˜ ÊÔÚ¤˜, ÛÎËÓÔıÂÙÒÓÙ·˜ ÙÔ ‚Ú·‚Â˘Ì¤ÓÔ «Hajj Ù·Í›‰È ˙ˆ‹˜» ÁÈ· ÙÔ BBC.
∫·ÙÔÈΛ ÛÙÔ ∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ.
Ovidio Salazar
A native of California, Ovidio Salazar has been involved in documentary films for over twenty-five years. After
studying Theatre and Performance Art in Los Angeles and New York, his interest in Sufism took him to Europe
and the Middle East, studying Arabic and Islamic Studies in London and Cairo. For two years, he was series
producer for the BBC’s "Faces of Islam", and also filmed the pilgrimage to Mecca on several occasions, directing the award-winning "Hajj Journey of a Lifetime" for the BBC. He resides in the United Kingdom.
∂mail: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Al-Ghazali-The Alchemist of
Happiness (Feature length
documentary)
2005 Circling the House of God: A Pilgrimage
to Mecca with Shaykh Abu Bakr Siraj
ad-Din (Dr. Martin Lings)
2002 Hajj-Journey of a Lifetime (Feature
length documentary)
1999-2000
Faces of Islam:
Listen to the Reed- Kudsi Erguner
The Man who brought the Archers to
Afghanistan- Jan Muhammed Butt
Rebel with a Cause- Ruqayyiayah
Waris Maqsoud
Til the Ravens' Wings turn WhiteSultan Ghalib al-Ghaiti of Hadhramaut
1999 The Furthest Mosque
1997-1998
Faces of Islam:
Shaykh Hamza Yusuf
Najma Akhtar
Haris Siladjiz
Muhammed Banu az-Zubayr
1997 Creatures Fantastic:
Birds and Things with Wings
Creatures of the Deep
1996 In Search of Da Cat
1995 Passion in the Desert (Independent
Feature film)
O Ovidio Salazar
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Ovidio Salazar about his film
∏ Ù·ÈÓ›· ‰ÂÓ ¯·ÚÙÔÁÚ·Ê› ÌfiÓÔ ÙË ÛÙÚÔÊ‹ ÛÙË
˙ˆ‹ ÙÔ˘ ∞Ï °Î·˙¿ÏÈ Î·È ÙËÓ ÓÂ˘Ì·ÙÈ΋ Î·È ‰È·ÓÔËÙÈ΋ ÙÔ˘ ÂͤÏÈÍË. ∏ ÂÔ¯‹ Ô˘ ˙Ô‡ÛÂ Ô ∞Ï
°Î·˙¿ÏÈ ‹Ù·Ó ÂÔ¯‹ ÙÚÔÌÂÚÒÓ ·ÏÏ·ÁÒÓ, Î·È ÌÂ
Ù¤ÙÔÈ· ÚfiÛÊ·Ù· Ê·ÈÓfiÌÂÓ· ÛÙÔÓ ÎfiÛÌÔ fiˆ˜ Ë
ÈÛÏ·ÌÈ΋ ÙÚÔÌÔÎÚ·Ù›·, ‚ϤÔ˘Ì fiÙÈ ˘¿Ú¯Ô˘Ó
ÔÏϤ˜ ÔÌÔÈfiÙËÙ˜ Ì ÙÔÓ ÎfiÛÌÔ ÙÔ˘, fiˆ˜ ‹Ù·Ó
fiÙ·Ó ˙Ô‡ÛÂ. ™˘ÓÂÒ˜ Ù· ÚÔ‚Ï‹Ì·Ù· Ô˘ ··Û¯fiÏËÛ·Ó ÙÔÓ ∞Ï °Î·˙¿ÏÈ ‰ÂÓ ‰È·Ê¤ÚÔ˘Ó ·fi
·˘Ù¿ Ô˘ ·ÓÙÈÌÂÙˆ›˙Ô˘Ó ÔÈ ÂÚ¢ÓËÙ¤˜ Û fiÏÔ
ÙÔÓ ÎfiÛÌÔ, Î·È ÔÈ ··ÓÙ‹ÛÂȘ Ô˘ ·Ó·˙ËÙÔ‡ÛÂ
·Ú·Ì¤ÓÔ˘Ó ·ÎfiÌË Â›Î·ÈÚ˜.
∆he film does not just chart the curve of al-Ghazali’s life and spiritual and intellectual development. The time in which Al-Ghazali lived
was one of tremendous upheaval, and with
such recent phenomena in the world as Islamic terrorism, we see that there are many similarities to that in which he lived. Thus we see
that the problems Al-Ghazali addressed are
not unlike those facing seekers everywhere
and the answers he sought are still relevant
today
µÚ·‚›· Awards
2004 Special "Religions for Peace" Award,
International Festival for Cinema and
Religion, Trento Italy
"Contributions to Islamic Culture"
Golden Minbar Festival Kazan, Russia
ECOFILMS
ƒ√¢√™
2006
RODOS
21
∆∏¡ ∫∞∆∞§§∏§∏ ™∆π°ª∏
AL MOMENTO GIUSTO / AT THE RIGHT TIME
πÙ·Ï›· Italy, 2005
¢È¿ÚÎÂÈ· Running time: 81’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿Ï¢ÛË
World Sales
Zaroff Film
Piazza S. Maria Liberatrice 27
00153 Roma
Italy
Tel: +39 065745004
Fax: +39 0657552424
∂mail: [email protected]
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ªÔÓÙ¿˙
Director, Script, Edit: Luca Gasparini
∫¿ÌÂÚ· Camera: Clemente Bicocchi,
Stefano Cravero. Susanna Nicchiarelli
◊¯Ô˜ Sound:
Alessandro Molaioli, Rikard StrÔmsodd
ªÔ˘ÛÈ΋ Music: Giovanna Marini
e Scuola Popolare di Musica di Testaccio
¶·Ú·ÁˆÁfi˜ Producer: Andrea Fornari,
Gianluca Arcopinto
™‡ÓÔ„ËSynopsis
√ §Ô˘›Ù˙È ÁÂÓÓ‹ıËΠÙÔ 1936 ÛÙÔ ºÚÈÔ‡ÏÈ Î·È ¤Ú·Û ٷ ·È‰Èο ÙÔ˘ ¯ÚfiÓÈ· ÛÙËÓ ∂Ú˘ıÚ·›·, ÂÓÒ
¤Ó·˜ ¿ÏÏÔ˜ §Ô˘›Ù˙È ÌÂÁ¿ÏˆÛ ÛÙ· ÂÚ›¯ˆÚ· Ù˘ ƒÒÌ˘. ∏ ÕÁÎÓ˜, Â›Ó·È Ó·ڋ °·ÏÏ›‰· ‚ÈÔÏ›ÛÙÚÈ·
Î·È Ë ∞ÓÙÔӤϷ ηıËÁ‹ÙÚÈ· ÌÔ˘ÛÈ΋˜. √È ‰Ú·Ì·ÙÈΤ˜ ηÌ¤˜ Ù˘ ˙ˆ‹˜ ÙÔ˘˜ ÙÔ‡˜ Ô‰‹ÁËÛ·Ó ÛÙÔ ›‰ÈÔ Ì¤ÚÔ˜: ÙÔ SPMT, ÙË Û¯ÔÏ‹ ÌÔ˘ÛÈ΋˜ ÙÔ˘ ∆ÂÛÙ¿ÎÈÔ, ¤Ó· ÈÛÙÔÚÈÎfi ÌÔ˘ÛÈÎfi Û‡ÏÏÔÁÔ Ô˘ ȉڇıËΠÙÔ 1975 Û ÌÈ· ηٿÏË„Ë Ù˘ Ô‰Ô‡ °Î¿Ï‚·ÓÈ ÙÔ˘ ‰È·ÌÂÚ›ÛÌ·ÙÔ˜ ∆ÂÛÙ¿ÎÈÔ ÛÙÔ Î¤ÓÙÚÔ Ù˘
ƒÒÌ˘.
∏ Ù·ÈÓ›· Û˘Ó‰¤ÂÈ ÙËÓ ÈÛÙÔÚ›· ÙˆÓ ÙÂÛÛ¿ÚˆÓ ¯·Ú·ÎÙ‹ÚˆÓ Ì ÙËÓ ÙÚÈ·ÓÙ¿¯ÚÔÓË ÈÛÙÔÚ›· ·˘ÙÔ‡ ÙÔ˘
·Û˘Ó‹ıÈÛÙÔ˘ ΤÓÙÚÔ˘ ÌÔ˘ÛÈ΋˜ ‰È‰·Ûηϛ·˜, Î·È ·ÊËÁÂ›Ù·È Ì ÌÔ˘ÛÈ΋ (Ì ÙÔ˘˜ ÛÙ›¯Ô˘˜ Ù˘ ∆˙ÈÔ‚¿Ó· ª·Ú›ÓÈ Î·È ÂÓÔÚ¯ËÛÙڈ̤ÓË ·fi ÙÔ˘˜ ηıËÁËÙ¤˜ Î·È ÙËÓ ÔÚ¯‹ÛÙÚ· ÙÔ˘ SPMT) ÙË ÊÈÏÔÛÔÊ›· Ù˘ Û¯ÔÏ‹˜, ÙÔ ·ÚÂÏıfiÓ Î·È ÙÔ ·ÚfiÓ Ù˘.
Luigi, from Friuli, born 1936, childhood spent in Eritrea, and another Luigi, from Rome, grown in
the suburbs. Agnés, young french violinist, and Antonella, music teacher. Their lives, with dramatic turning-points, bring them all to the same landing place: the SPMT, Scuola Popolare di
Musica di Testaccio, an historical music association founded in 1975 in a squatted building at
Via Galvani, Testaccio district, in the heart of Rome.
The film interlaces the tale of the four characters’ lives with the thirty year history of this extraordinary center of music didactic, and narrates in music – by means of Giovanna Marini’s lyrics
arranged by SPMT teachers and ensemble – the school’s philosphy, its past and its present.
22
ECOFILMS
ƒ√¢√™
2006
RODOS
Luca Gasparini
°ÂÓÓ‹ıËΠÛÙÔ ª¤ÚÁ·ÌÔ Ù˘ πÙ·Ï›·˜ ÙÔ 1958, ÛÔ‡‰·Û πÛÙÔÚ›· Î·È ∫ÚÈÙÈ΋ ÙÔ˘ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ÙÔ˘ ∆ÔÚ›ÓÔ. ∂ÚÁ¿ÛÙËΠÛÙÔ ∆ÔÚ›ÓÔ, ÛÙÔ ª¿ÚÈ Î·È ÙÂÏÂ˘Ù·›· ÛÙË ƒÒÌË. ø˜ ÌÔÓÙ¤Ú Û˘ÓÂÚÁ¿ÛÙËΠÌÂٷ͇ ¿ÏÏˆÓ Ì ÙÔÓ Guido Chiesa Î·È ÙÔÓ Daniele Gaglianone. ø˜ ÛÎËÓÔı¤Ù˘ Á˘Ú›˙ÂÈ ÓÙÔÎÈÌ·ÓÙ¤Ú. ∂Ú·ÛÈÙ¤¯Ó˘
ÌÔ˘ÛÈÎfi˜, ·Ú·ÎÔÏÔ˘ı› ÙË Scuola Popolare di Musica di Testaccio ÛÙËÓ ƒÒÌË. √Ù·Ó ‹Ù·Ó ·È‰› ¤·È˙ ڿÁÎÌÈ.
Born in Bergamo, Italy, December 11th, 1958. Degree in History and Critic of Cinema, University of Turin. Professional experiences in Turin, Bari and at last in Rome. As a film editor, he works among others with Guido
Chiesa and Daniele Gaglianone. He teaches at Centro Sperimentale di Cinematografia, Rome. As a director, he
makes documentaries. Amateur of music, he attends the Scuola Popolare di Musica di Testaccio in Rome.
When he was a boy, he played rugby.
Luca Gasparini
Via Asiago, 8
00195 Roma
Italy
∂mail: [email protected]
www.2you.it/lucagasparini
ºÈÏÌÔÁÚ·Ê›· Filmography
2001 The Soldiers Are Passing
2000 Il partigiano Johnny
1999 Bajram
ECOFILMS
ƒ√¢√™
2006
RODOS
23
√¡∂πƒ∞ ∫Aπ ∞ƒπ£ª√π
DREAMING BY NUMBERS
√ÏÏ·Ó‰›·
The Netherlands: 2005
¢È¿ÚÎÂÈ· Running time: 75’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Armadillo film
PO Box 51056
1007 EB Amsterdam
Tel: +31 20 6273272
Fax: +31 20 6273265
Email: info@ armadillofilm.nl
www.armadillofilm.nl
™ÎËÓÔı¤Ù˘ Director:
Anna Maria Bucchetti
∫¿ÌÂÚ· Camera: Stefano Bertacchini
ªÔÓÙ¿˙ Edit: Katarina Türler
ªÔ˘ÛÈ΋ Music: Lucio Caliendo
◊¯Ô˜ Sound: Bouwe Mulder
¶·Ú·ÁˆÁfi˜ Producer:
André Bos, Hans Mulder
ŒÚ¢ӷ Research: Serena Coscione
™‡ÓÔ„ËSynopsis
∏ ¡¿ÔÏË ¤¯ÂÈ ÔÏϤ˜ ÔÏ˘ÏËı›˜ ÊÙˆ¯ÔÁÂÈÙÔÓȤ˜ Ì ÌÈÎÚ¿ ricevitorie (Ú·ÎÙÔÚ›· ÛÙÔȯËÌ¿ÙˆÓ). √È
ı·ÌÒÓ˜ ÙÔ˘˜ ‰ÂÓ ‰È·Ï¤ÁÔ˘Ó ÙÔ˘˜ ·ÚÈıÌÔ‡˜ ÙÔ˘ §fiÙÙÔ Ù˘¯·›·. °È’ ·˘ÙÔ‡˜ ˘¿Ú¯ÂÈ ¤Ó·˜ ¿ÌÂÛÔ˜ Û˘Û¯ÂÙÈÛÌfi˜ ÌÂٷ͇ ÙˆÓ ·ÚÈıÌÒÓ Ô˘ ‰È¿ÏÂÍ·Ó Î·È Ù˘ ·fiÂÈÚ¿˜ ÙÔ˘˜ Ó· ·ÏÏ¿ÍÔ˘Ó ÙË ÌÔ›Ú·.
ŸÏ· Ù· ηıËÌÂÚÈÓ¿ ÁÂÁÔÓfiÙ· ÌÔÈ¿˙Ô˘Ó Ó· ¤¯Ô˘Ó Û˘ÁÎÂÎÚÈ̤ÓË ÛËÌ·Û›· ÁÈ· ÙÔ˘˜ ¡·ÔÏÈÙ¿ÓÔ˘˜, ηÈ
·›ÚÓÔ˘Ó ÌÔÚÊ‹ ÛÙÔ ‰ÂÏÙ›Ô ÙÔ˘ §fiÙÙÔ. ∏ Ù·ÈÓ›· ·ÚÔ˘ÛÈ¿˙ÂÈ ÙÔ˘˜ ı·ÌÒÓ˜ ÂÓfi˜ ÌÈÎÚÔ‡ Ú·ÎÙÔÚ›Ԣ
ÛÙÔȯËÌ¿ÙˆÓ, ÔÈ ÔÔ›ÔÈ ·ÊËÁÔ‡ÓÙ·È ÙȘ ÚÔÛˆÈΤ˜ ÙÔ˘˜ ÈÛÙÔڛ˜ ÛÙȘ Ôԛ˜ Ë ›ÛÙË Â›Ó·È Û˘Ó˘Ê·Ṳ̂ÓË Ì ÙË ˙ˆ‹ ÙÔ˘˜. √È ÔÈΛ˜ ÂÈÎfiÓ˜ ÙÔ˘ ÌÈÎÚÔ‡ Ú·ÎÙÔÚ›Ԣ ÛÙÔ ÔÔ›Ô ‰Ô˘ÏÂ‡Ô˘Ó ÔÈ ·‰ÂÏʤ˜
ª·Ú›· Î·È ÕÓÙ˙ÂÏ· ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÙȘ ÁÂÌ¿Ù˜ ˙ˆÓÙ¿ÓÈ· ÛÎËÓ¤˜ ÛÙÔ ‰ÚfiÌÔ ÈÛÔÚÚÔÔ‡Ó ÌÂٷ͇ Ú·ÏÈÛÌÔ‡ Î·È Ì·Á›·˜.
∫¿ÔÈÔÈ ·›˙Ô˘Ó ÙÔ˘˜ ›‰ÈÔ˘˜ ·ÚÈıÌÔ‡˜ fiÏË ÙÔ˘˜ ÙË ˙ˆ‹, ÏfiÁˆ οÔÈ·˜ ȉȷ›ÙÂÚ˘ ÛËÌ·Û›·˜ Ô˘ ¤¯Ô˘Ó
ÁÈ’ ·˘ÙÔ‡˜. ªÂÚÈÎÔ› ·›˙Ô˘Ó ÙÔ˘˜ ·ÚÈıÌÔ‡˜ Ô˘ Û¯ÂÙ›˙ÔÓÙ·È Ì ÙȘ ËÌÂÚÔÌËӛ˜ ı·Ó¿ÙÔ˘ ÌÂÏÒÓ Ù˘ ÔÈÎÔÁ¤ÓÂÈ¿˜ ÙÔ˘˜. ∫·È ˘¿Ú¯Ô˘Ó ÎÈ ·˘ÙÔ›, Ô˘ ‰È·Ï¤ÁÔ˘Ó ÙȘ Â˘Ù˘¯ÈṲ̂Ó˜ ÛÙÈÁ̤˜ Ù˘ ˙ˆ‹˜ ÙÔ˘˜. ¶ÈÛÙÂ‡Ô˘Ó fiÙÈ Ë Â˘Ù˘¯›· –οÔÙÂ- ı· ÙÔ˘˜ ÂÈÛÎÂÊÙ› Î·È ¿ÏÈ.
Naples has many crowded poor neighborhoods with small ricevitorie (gambling offices). The daily
visitors do not pick their lotto numbers randomly; for them there is a direct link between the chosen
numbers and their attempt to change destiny.
All daily events seem to have meaning for the Neapolitans, and are transformed on to the lotto form.
In "Dreaming by numbers" the regular visitors of a small ricevitoria are portrayed and tell their personal stories in which faith is interwoven with their lifes. The intimate images of the small office run
by the two sisters Maria and Angela combined with vivid street scenes balance between realism and
magic.
Some play the same numbers during a lifetime, because of the special meaning for them. Some play
the numbers corresponding the death dates of family members. And there are those who chose the
happy events in their lifes. They believe happiness will -once- be back.
24
ECOFILMS
ƒ√¢√™
2006
RODOS
Anna Maria Bucchetti
°ÂÓÓ‹ıËΠÛÙÔ ªÈÏ¿ÓÔ, fiÔ˘ Î·È ÛÔ‡‰·Û ∫¿ÌÂÚ· ÛÙËÓ ÂΛ ·Î·‰ËÌ›· ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘. Œ¯ÂÈ ÁÚ¿„ÂÈ Î·È ÛÎËÓÔıÂÙ‹ÛÂÈ ÔÏÏ¿ ÓÙÔÎÈÌ·ÓÙ¤Ú, Î·È ÂÚÁ¿˙ÂÙ·È Î·È ˆ˜ ÌÔÓÙ¤Ú. ∫·ÙÔÈΛ ÛÙÔ ÕÌÛÙÂÚÓÙ·Ì.
She was born in Milano, where she studied in the Film Academy as lighting cameraman. She directed numerous documentaries and she is working as an editor too. She lives in Amsterdam.
Anna Maria Bucchetti
P.Aertszstraat 91-3
1073 SL Amsterdam
The Netherlands
Tel: +31 20 6769716
Fax: +31 20 6769716
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2002 Tegenlicht "Una storia Italiana"
Een Wereldzaak (TV series)
7 dagen: Genua, met eigen ogen
1998 Solidair
1997 Eindeloos debuut
1996 Met eigen ogen in Sarajevo
Je moet het toch zelf doen (You have
to do it by yourself)
Zone warriors
Turkis Delight
With love, me
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
IDFA, Rotterdam, Kiev, Nyon, St. Petersburg,
Cracow, Silverdocs
∏ Anna Maria Bucchetti
ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Anna Maria Bucchetti
about her film
∞ÊÂÙËÚ›· ÁÈ· ̤ӷ ‹Ù·Ó Ë ›ÛÙË ÙˆÓ ¡·ÔÏÈÙ¿ÓˆÓ ÛÙÔ˘˜ ·ÚÈıÌÔ‡˜. °È·Ù› ÈÛÙ‡ԢÌ Û οÙÈ;
∏ ›ÛÙË ÛÙÔ˘˜ ·ÚÈıÌÔ‡˜ ÁÂÓÓ‹ıËÎÂ Î·È ÌÂÙ·Ï·Ì·‰Â‡ÙËΠ̠ÛÎÔfi Ó· ÂϤÁÍÂÈ ÙÔ Êfi‚Ô.
∂ÓÒ ÔÈ ¡·ÔÏÈÙ¿ÓÔÈ ÂÚÈ̤ÓÔ˘Ó Ó· Û˘Ì‚Â› οÙÈ Ì·ÁÈÎfi, Â›Ó·È ÂÚÈÙÚÈÁ˘ÚÈṲ̂ÓÔÈ ·fi ÙËÓ Î·ıËÌÂÚÈÓ‹ Ú·ÁÌ·ÙÈÎfiÙËÙ·: ˙ˆ‹ Û ÌÈ· ¯·ÔÙÈ΋
fiÏË, ·ÓÂÚÁ›·, ÚÔÛˆÈΤ˜ ÙÚ·Áˆ‰›Â˜, ÔÈ ÌӋ̘ ÙÔ˘ ηıÂÓfi˜. ŒÙÛÈ ÙÔ §fiÙÙÔ ‰ÂÓ Â›Ó·È ¤Ó· ͤÓÔ ÛÒÌ·, οÙÈ ·ÔÎÔÌ̤ÓÔ ·fi ÙËÓ Î·ıËÌÂÚÈÓ‹ Ú·ÁÌ·ÙÈÎfiÙËÙ·. ∞ÓÙ›ıÂÙ· ·ÔÙÂÏ› ¤ÎÊÚ·ÛË Ù˘ ·Ú¿‰ÔÛ˘ Î·È ÙÔ˘ Ó‡̷ÙÔ˜ ÙˆÓ ¡·ÔÏÈÙ¿ÓˆÓ. ∆Ô ·È¯Ó›‰È Ù˘ Ù‡¯Ë˜ ÂÎÊÚ¿˙ÂÈ ÙËÓ
·Ó¿ÁÎË ÁÈ· ÂÏ›‰· Û ÌÈ· fiÏË Ô˘ ÙË ÛÙÂÚ›ٷÈ. √È ·ÚÈıÌÔ› Â›Ó·È Û˘Ó˘Ê·Ṳ̂ÓÔÈ Ì ÙËÓ Î·ıËÌÂÚÈÓ‹ ˙ˆ‹ fiˆ˜ Î·È ÔÈ ÎÔÈÓ¤˜ ‰Ú·ÛÙËÚÈfiÙËÙ˜, fiˆ˜ Ô ‡ÓÔ˜ Î·È ÙÔ Ê·ÁËÙfi.
My starting-point is the Neapolitan belief in
numbers. Why do we believe in something?
The belief in numbers first came into existence and was handed down in order to control fear. While waiting for some magic to happen the Neapolitans are surrounded by daily
reality: life in a chaotic city, unemployment,
personal tragedies, memories people have. So
the lotto is not a Fremdkörper, something
separate from everyday reality. On the contrary, it is an expression of the culture and the
spirit of the Neapolitans. The game of chance
expresses the need for hope in a town devoid
of hope. The numbers are woven with everyday life just like ordinary activities such as
sleeping and eating.
ECOFILMS
ƒ√¢√™
2006
RODOS
25
∞¶√∏Ã√π ¶√§∂ª√À
ECHOES OF WAR
√ÏÏ·Ó‰›·
∆he Netherlands, 2004
¢È¿ÚÎÂÈ· Running time: 70’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
First Hand Films
Zurich Office
Schaffhauserstrasse 359
8050 Zürich, Switzerland
Tel: +41 1 312 20 60
Fax: +41 1 312 20 80
Berlin Office
Mehringdamm 33
10961 Berlin, Germany
Tel: +49 30 285 290 88
Fax: +49 30 285 290 99
[email protected]
www.firsthandfilms.com
™ÎËÓÔı¤Ù˘, ¶·Ú·ÁˆÁfi˜
Director, Producer: Joop van Wijk
∫¿ÌÂÚ· Camera: Melle van Essen
◊¯Ô˜ Sound: Barend Schweigman
ªÔÓÙ¿˙ Edit: Jan Dop csc
ªÔ˘ÛÈ΋ Music: Daan Guilliamse
∞Ê‹ÁËÛË Narration: Fatima Haffner
(Sierra Leone), Najia Wahid (Afghanistan)
Pilar Lozano (Colombia), Esther Perel (USA)
KÈÓÔ‡ÌÂÓÔ Û¯¤‰ÈÔ Animation
™ÎËÓÔı¤Ù˘ Director: Liesbeth Worm
¶·Ú·ÁˆÁfi˜ Producer:
Jan Snoerwang
™ÂÓ¿ÚÈÔ Script: Joop van Wijk,
Rohan van den Braak
™¯Â‰È·ÛÙ¤˜ Animators:
Arjan Wilschut, Christa Moesker, Michael
Sewnarain, Mandy Geuskens
ªÔÓÙ¿˙ Edit: Jan Dop csc
∞Ê‹ÁËÛË Narration:
Martijn Oversteegen, Emma Dingwall,
Michael Harrigan, Grainne Delainy
26
™‡ÓÔ„ËSynopsis
H Ù·ÈÓ›· «∞fi˯ÔÈ ¶ÔϤÌÔ˘» Â›Ó·È ¤Ó· ÓÙÔÎÈÌ·ÓÙ¤Ú ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Ì ÛÎËÓ¤˜ ÎÈÓÔ˘Ì¤ÓˆÓ Û¯Â‰›ˆÓ ÁÈ· Ù· ·È‰È¿ Ô˘ Â¤˙ËÛ·Ó ÙÔ˘˜ ÔϤÌÔ˘˜ Î·È ÙȘ ‚›·È˜ Û˘ÁÎÚÔ‡ÛÂȘ ÛÙÔ ∞ÊÁ·ÓÈÛÙ¿Ó, ÙË
¡¤· ÀfiÚÎË, ÙËÓ ∫ÔÏÔÌ‚›· Î·È ÙË ™È¤Ú· §ÂfiÓÂ. ∆· ·È‰È¿ ·˘Ù¿ Ì·˜ Ô‰ËÁÔ‡Ó ÛÙȘ ˙ˆ¤˜ ÙÔ˘˜ Î·È ÌÔÈÚ¿˙ÔÓÙ·È ÙȘ ·Ó·ÌÓ‹ÛÂȘ ÙÔ˘˜, ÙÔ˘˜ ÂÊÈ¿ÏÙ˜ Î·È Ù· fiÓÂÈÚ¿ ÙÔ˘˜.
∆· ·È‰È¿ ·ÔηχÙÔ˘Ó ÙȘ ÈÛÙÔڛ˜ Î·È Ù· fiÓÂÈÚ¿ ÙÔ˘˜ ·ÓÙ·ÔÎÚÈÓfiÌÂÓ· ÛÙËÓ ÈÛÙÔÚ›· ÂÓfi˜ ÌÈÎÚÔ‡ ÂϤʷÓÙ· Ô˘ ÚÔÛ·ı› Ó· ‚ÚÂÈ ÙÔ ÎÔ˘Ú¿ÁÈÔ Ó· ·ÓÙÈÌÂÙˆ›ÛÂÈ ÙÔ ı¿Ó·ÙÔ ÙÔ˘ ·Ù¤Ú· ÙÔ˘.
∂ÓÒ Ù·˘Ù›˙ÔÓÙ·È Ì ÙËÓ Î·ÎÔÙ˘¯›· ÙÔ˘ ÌÈÎÚÔ‡ ÂϤʷÓÙ·, ·Ó·Î·Ï‡ÙÔ˘Ì ˆ˜ ·˘Ù¿ Â›Ó·È ÔÈ Ú·ÁÌ·ÙÈÎÔ› ‹ÚˆÂ˜, ÍÂÂÚÓÒÓÙ·˜ οı ÔÏÈÙÈ΋ Î·È ÚËÙÔÚ›· ÙˆÓ Î˘‚ÂÚÓÒÓÙˆÓ, ÙÔ˘˜ ÙÚÔÌÔÎÚ¿Ù˜ ‹
ÙÔ˘˜ ÛÙÚ·ÙÈÒÙ˜.
"Echoes of war" is a feature length documentary with animated sequences about child survivors
of wars and violent conflicts in Afghanistan, New York, Colombia and Sierra Leone. They take us
into their lives and share their memories, nightmares and dreams. Though continents apart and
without knowledge of each other these children have grief, courage and hope in common.
The children reveal their stories and dreams by their response to the tale of a little elephant who
tries to find the courage to cope with the death of his father. While they identify with the plight
of the little elephant we discover that they are the real heroes, far beyond the politics and rhetoric of statesmen, terrorists or soldiers.
ECOFILMS
ƒ√¢√™
2006
RODOS
Joop van Wijk
√ ·Ú·ÁˆÁfi˜ Î·È ÛÎËÓÔı¤Ù˘ Joop van Wijk Â›Ó·È ÁÈ·ÙÚfi˜, Ô˘ ÍÂΛÓËÛ ÙÔ 1978 Ó· ÎÈÓËÌ·ÙÔÁÚ·Ê› Ì ÙËÓ ·ÓÂÍ¿ÚÙËÙË ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜ Molenwiek Film ÛÙÔ ∞ÌÛÙÂÚÓÙ¿Ì. ‘∂ÎÙÔÙ ¤¯ÂÈ (Û˘Ó-) ÛÎËÓÔıÂÙ‹ÛÂÈ Î·È Û˘ÌÌÂÙ¿Û¯ÂÈ Û ÔÏϤ˜ ·Ú·ÁˆÁ¤˜ ÓÙÔÎÈÌ·ÓÙ¤Ú Î·È Ù·ÈÓÈÒÓ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜. ∞fi ÙÔ 1994 Ë Molenwiek Film Û˘ÌÌÂÙ¤¯ÂÈ Û (Û˘Ì-)·Ú·ÁˆÁ¤˜ Ù·ÈÓÈÒÓ Ì˘ıÔÏ·Û›·˜. ∞fi ÙÔ 2001 Ô Joop van Wijk Â›Ó·È Û˘Ó¤Ù·ÈÚÔ˜ ÙÔ˘ Jan
Snoerwang (Animation World) ÛÙËÓ ·ÓÂÍ¿ÚÙËÙË ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜ Déjà Vu Entertainment.
Producer and director Joop van Wijk is a Medical Doctor who took up filming in 1978 in the independent
production company Molenwiek Film, Amsterdam. Since then, he has (co)produced and (co)directed a great
number of documentaries and short films. From 1994 on, Molenwiek Film is also involved in the (co)
production of feature films. Since 2001 van Wijk is partner in the independent production company Déjà Vu
Entertainment with animation film producer Jan Snoerwang (Animation World).
Joop van Wijk
Molenwiek Film BV
Van Diemenstraat 410
1013 CR Amsterdam
Tel: +31 20 6252296
Fax: +31 20 6251489
∂mail: [email protected]
www.molenwiek.nl
ºÈÏÌÔÁÚ·Ê›· Filmography
2004 Echoes of war
2002 Piece of mind
2001 Shadowplay
2000 The daily nation
1998 The Dandelion Game
1997 Crossroads
1994 XIME
1993 Isingiro Hospital
1992 Enigma
1990 Change
1988 Cannot run away
1986 Alter Ego I & II
1984 Old Taboo
1982 Daughters of the Nile
1980 The factory
1979 Guerra a la guerra!
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
Idf Amsterdam
Rio de Janeiro
Utrecht
Liesbeth Worm
∏ Liesbeth Worm Â›Ó·È ÌÈ· Ó¤·, ÔÏÏ¿ ˘ÔÛ¯fiÌÂÓË ÛÎËÓÔı¤Ù˘ ÎÈÓÔ˘Ì¤ÓˆÓ Û¯Â‰›ˆÓ ·fi ÙË ÓfiÙÈ· √ÏÏ·Ó‰›·. ∏
ÚÒÙË Ù˘ Ù·ÈÓ›· "Tempera" (1997) ÂÈϤ¯ıËΠÛÙÔ ÚfiÁÚ·ÌÌ· ÔÏÏÒÓ ‰ÈÂıÓÒÓ ÊÂÛÙÈ‚¿Ï ÎÈÓÔ˘Ì¤ÓˆÓ Û¯Â‰›ˆÓ. ∏ Liesbeth Worm ¤¯ÂÈ ÂÌÂÈÚ›· Û fiÏÔ˘˜ ÙÔ˘˜ ÙÔÌ›˜ ÙÔ˘ ÎÈÓÔ˘Ì¤ÓÔ˘ ۯ‰›Ô˘: ·fi ÙÔ ÛÂÓ¿ÚÈÔ, ÙÔ Û¯Â‰È·ÛÌfi ÙÔ˘ ÛÙfiÚÈ-ÌÔÚÓÙ, ÙÔ ›‰ÈÔ ÙÔ Û¯¤‰ÈÔ, ̤¯ÚÈ Î·È ÙËÓ Î¿ÌÂÚ· Î·È ÙÔ ÌÔÓÙ¿˙.
Liesbeth Worm is a young and promising animation director from the south of The Netherlands. Her debut
film "Tempera" (1997) was selected for a large number of international animation film festivals. Liesbeth
Worm is experienced in all aspects of animation filming: from (re)writing the script, design of the story
board, the animation itself to camerawork and editing.
√ Joop van Wijk
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Joop van Wijk about his film
¶ÚÈÓ ·fi ηÈÚfi ‹ÌÔ˘Ó ·Ú·ÁˆÁfi˜ ÌÈ·˜ ÛÂÈÚ¿˜
ÓÙÔÎÈÌ·ÓÙ¤Ú ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ Ù· ÔÔ›· ·Ó·Ê¤ÚÔÓÙ·Ó ÛÙËÓ „˘¯ÔÏÔÁÈ΋ Î·È ÎÔÈÓˆÓÈ΋ ÊÚÔÓÙ›‰· Ô˘ ·Ú›¯·Ó ÛÙÔ˘˜ ηٷ˘ÏÈÛÌÔ‡˜ ÚÔÛʇÁˆÓ ÌÂÙ¿ ÙËÓ ÂÚ›Ô‰Ô ÙˆÓ Û˘ÁÎÚÔ‡ÛˆÓ.
∂ÓÒ Á˘Ú›˙ÔÓÙ·Ó ·˘Ù¿ Ù· ÓÙÔÎÈÌ·ÓÙ¤Ú, ‰È¿‚·Û·
ÙÔ ‚È‚Ï›Ô Ù˘ ¢Ú ¡¿ÓÛÈ ª¿ÚÔÓ «ŒÓ·˜ ÌÈÎÚfi˜
ÂϤʷÓÙ·˜ ‚Ú›ÛÎÂÈ ÙÔ ÎÔ˘Ú¿ÁÈÔ ÙÔ˘». ªÂ Û˘ÓÂ‹Ú ·Ì¤Ûˆ˜! ∞ÊÔ‡ Û˘ÌÌÂÙ›¯· Û ·ÚÎÂÙ¤˜ ·Ó·ÁÓÒÛÂȘ ÙÔ˘ ‚È‚Ï›Ô˘ Ì ÔÌ¿‰Â˜ ·È‰ÈÒÓ –ÎÈ
ÂÓËϛΈÓ, ÔÚÈṲ̂Ó˜ ÊÔÚ¤˜- ¿Ú¯ÈÛ· Ó· ‰ÈÂÚ¢ÓÒ ÙȘ ‰˘Ó·ÙfiÙËÙ˜ Â¤ÎÙ·Û˘ ÙˆÓ ÂÓÓÔÈÒÓ Î·È
ÙÔ˘ ·ÓÙ›ÎÙ˘Ô˘ Ù˘ ÈÛÙÔÚ›·˜.
√Ú›ÛÙ ÏÔÈfiÓ ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ «Afi˯ÔÈ ÔϤÌÔ˘»: ¤Ó·˜ Û˘Ó‰˘·ÛÌfi˜
Ú·ÁÌ·ÙÈ΋˜ ‰Ú¿Û˘ Î·È ÎÈÓÔ˘Ì¤ÓˆÓ Û¯Â‰›ˆÓ.
£ÂˆÚÒ ˆ˜ ‰ËÌÈÔ˘ÚÁ‹Û·Ì ÌÈ· Û˘Ó·ÈÛıËÌ·ÙÈ΋ Î·È Î¿ÔȘ ÊÔÚ¤˜ ‰Ú·Ì·ÙÈ΋ Ù·ÈÓ›·, Ë ÔÔ›· ÔÚ·Ì·ÙÈ˙fiÌ·ÛÙ ӷ ηٷʤÚÂÈ Ó· ·ÁÁ›ÍÂÈ
Î·È Ó· Û˘ÁÎÈÓ‹ÛÂÈ ÙÔ ÌÂÁ¿ÏÔ ÎÔÈÓfi –ÙfiÛÔ ÙÔ˘˜
ÂÓ‹ÏÈΘ, fiÛÔ Î·È Ù· ·È‰È¿.
Some time ago I produced a series of short
documentary films about projects for psychosocial care in refugee camps in post-conflict
areas. During the making of these films I was
confronted with Dr. Nancy Baron's book "A
Little Elephant Finds His Courage".
I was immediately inspired. After taking part
in a number of book reading sessions with
groups of children, π began intensely looking
for possibilities to extend its scope and impact.
So, here is the feature length documentary "Echoes of war": A combination of documentary
live-action and full animation.
I think we have made an emotional and sometimes even dramatic movie, which we envision will not fail to touch and move large audiences - adults and children alike.
ECOFILMS
ƒ√¢√™
2006
RODOS
27
∂™∆∞ªπƒ∞
ESTAMIRA
µÚ·˙ÈÏ›· Brazil, 2004
¢È¿ÚÎÂÈ· Running time: 115’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
James Darcy
Zazen Produç~
oes
Praça Pio XI, 6 sala 102
Rio de Janeiro – RJ 22461-080
Brazil
Tel: +55 21 2535-5407
Fax: +55 21 2535-5406
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·
Director, Camera: Marcos Prado
µÔËıfi˜ ™ÎËÓÔı¤ÙË
Assistant Director: Alexandre Lima
ªÔÓÙ¿˙ Edit: Tuco
ªÔ˘ÛÈ΋ Music: Décio Rocha
◊¯Ô˜ Sound: Leandro Lima
¶·Ú·ÁˆÁÔ› Producers:
Marcos Prado, José Padihla
™‡ÓÔ„ËSynopsis
∏ Ù·ÈÓ›· «∂Ûٷ̛ڷ» ·ÊËÁÂ›Ù·È ÙËÓ ÈÛÙÔÚ›· ÌÈ·˜ ÂÍËÓÙ·ÙÚÈ¿¯ÚÔÓ˘ Á˘Ó·›Î·˜ Ô˘ ¿Û¯ÂÈ ·fi Û¯È˙ÔÊÚ¤ÓÂÈ·. ∏ ∂Ûٷ̛ڷ ˙Ô‡ÛÂ Î·È ‰Ô‡ÏÂ˘Â Ù· ÙÂÏÂ˘Ù·›· ›ÎÔÛÈ ¯ÚfiÓÈ· ÛÙË ¯ˆÌ·ÙÂÚ‹ ÙÔ˘ ∆˙·ÚÓÙ›Ì
°ÎÚ·Ì¿ÎÔ ÛÙÔ ƒ›Ô ÓÙ ∆˙·Ó¤ÈÚÔ. ÷ÚÈÛÌ·ÙÈ΋ Î·È ÌËÙÚÈ΋, Ë ∂Ûٷ̛ڷ ÌÔÈÚ¿˙ÂÙ·È ÙË ˙ˆ‹ Ù˘ ÌÂ
ÌÈ· ÎÔÈÓfiÙËÙ· ÁÂÚfiÓÙˆÓ ÛÙÔ ÛÎÔ˘ȉfiÙÔÔ. ∏ ÎÈÓËÌ·ÙÔÁÚ¿ÊËÛË ÍÂÎÈÓ¿ ÙÔ 2000, fiÙ·Ó Ë ∂Ûٷ̛ڷ ÍÂΛÓËÛ ÌÈ· ıÂÚ·›· Û ÌÈ· ‰ËÌfiÛÈ· „˘¯È·ÙÚÈ΋ ÎÏÈÓÈ΋. ∏ Ù·ÈÓ›· ·ÚÔ˘ÛÈ¿˙ÂÈ ÙË ˙ˆ‹ Ù˘
ηٿ ÙË ‰È¿ÚÎÂÈ· ÙÂÛÛ¿ÚˆÓ ÂÙÒÓ Ê·Ú̷΢ÙÈ΋˜ ıÂÚ·›·˜, ·ÔηχÙÂÈ ÙË ÌÂÙ·ÌfiÚʈۋ Ù˘
Î·È ÙËÓ Â›‰Ú·ÛË ÙˆÓ Ê·ÚÌ¿ÎˆÓ ¿Óˆ Ù˘. ª¤Û· ·fi ÙȘ Ì·ÚÙ˘Ú›Â˜ ÙˆÓ ·È‰ÈÒÓ Ù˘ ÍÂÛÎÂ¿˙ÂÙ·È ÙÔ ·‚¿ÛÙ·¯ÙÔ Ù˘ ‡·ÚÍ‹˜ Ù˘: Ë ¯·Ì¤ÓË Ù˘ ·È‰È΋ ËÏÈΛ· ÛÙË ÊÙˆ¯‹, Â·Ú¯È·Î‹ µÚ·˙ÈÏ›·,
ÔÈ ‚·Û·ÓÈÛÙÈÎÔ› ¤ÚˆÙ˜ Î·È ÔÈ Á¿ÌÔÈ Ù˘ Î·È Ë ·Á·Ó¿ÎÙËÛ‹ Ù˘. ∂ÊԉȷṲ̂ÓË Ì ÌÈ· ÔÈËÙÈ΋, ÊÈÏÔÛÔÊÈ΋ Î·È ‰È·ÏÔÁÈ΋ ‰È¿ıÂÛË, Ë ∂Ûٷ̛ڷ ˙ÂÈ ÁÈ· ÙËÓ ·ÔÛÙÔÏ‹ Ô˘ Ù˘ ¤¯ÂÈ ·Ó·ÙÂı›: Ó· ÍÂÛÎÂ¿ÛÂÈ Î·È Ó· ·ÔηٷÛÙ‹ÛÂÈ ÙËÓ ·Ï‹ıÂÈ·.
"Estamira" tells the story of a 63 year-old woman who suffers from schizophrenia. Estamira has
lived and worked for the past 20 years at the waste disposal site of Jardim Gramacho in Rio de
Janeiro. Charismatic and maternal, Estamira shares her life with a community of elderly folk at
the waste site. Filming began in January of 2000, when Estamira started getting treatment at a
state-run psychiatric clinic. The film shows her life during four years of continuous medication;
reveals her transformation and the effects the drugs had upon her. In her children’s statements,
her arduous existence becomes exposed: her lost childhood in poor, rural Brazil, her tormented
loves and marriages, and her frustrations. With a poetic, philosophical and eloquent discourse,
Estamira lives for the mission that was set upon her: to reveal and to reclaim the truth.
28
ECOFILMS
ƒ√¢√™
2006
RODOS
Marcos Prado
√ µÚ·˙ÈÏÈ¿ÓÔ˜ Marcos Prado ÛÔ‡‰·Û ÛÙÔ Brooks Institute of Photography Ù˘ ∫·ÏÈÊfiÚÓÈ·. ∂›Ó·È ‰È¿ÛËÌÔ˜
ʈÙÔÁÚ¿ÊÔ˜, ÙÔ˘ ÔÔ›Ô˘ Ë ‰Ô˘ÏÂÈ¿ ¤¯ÂÈ ‚Ú·‚¢Ù› Ì ‰È¿ÊÔÚ· ‰ÈÂıÓ‹ ‚Ú·‚›· (.¯. World Press Photo, Focus
on Your World). ∂›Ó·È ·Ú·ÁˆÁfi˜ ÙˆÓ Ù·ÈÓÈÒÓ «√È Î·Ú‚Ô˘ÓÈ¿Úˉ˜» (Os Carvoeiros, 2000) Î·È «§ÂˆÊÔÚ›Ô
174» (Onibus 174, 2002), ÎÂÚ‰›˙ÔÓÙ·˜ ‚Ú·‚›· ÛÙÔ Los Angeles International Film Festival, ÛÙÔ FICE Î·È ÛÙ·
CCBB ‚Ú·‚›· ‚Ú·˙ÈÏÈ¿ÓÈÎˆÓ ÓÙÔÎÈÌ·ÓÙ¤Ú. ∆Ô 2005 ÚÔÙ¿ıËΠÁÈ· ÙÔ ‚Ú·‚Â›Ô Emmy ÛÙËÓ ÎÈÓËÌ·ÙÔÁÚ·Ê›· ÁÈ·
ÙËÓ ‰Ô˘ÏÂÈ¿ ÙÔ˘ ÛÙÔ "Pantanal Cowboys". ∆Ô ÛÎËÓÔıÂÙÈÎfi ÙÔ˘ ÓÙÂÌÔ‡ÙÔ «∂Ûٷ̛ڷ» ΤډÈÛ ÔÏÏ¿ ‚Ú·‚›·
ÌÂٷ͇ ·˘ÙÒÓ Î·È ÙÔ International Jury Prize ÛÙÔ Rio de Janeiro International Film Festival Î·È ÙÔ ‚Ú·‚Â›Ô Î·Ï‡ÙÂÚÔ˘ ÓÙÔÎÈÌ·ÓÙ¤Ú ÛÙÔ Karlovy Vary.
Marcos Prado
Praça Pio XI, 6 sala 102
Rio de Janeiro – RJ 22461-080
Brazil
Tel: +55 21 2535-5407
Fax: +55 21 2535-5406
Email: [email protected]
Marcos Prado (Brazil) studied at the Brooks Institute of Photography in California. He is a renowned photographer whose work has won several international prizes (e.g. World Press Photo, Focus on Your World). He
produced the documentary films "The Charcoal People" (Os Carvoeiros, 2000) and "Bus 174" (Onibus 174,
2002), winning prizes at the Los Angeles International Film Festival, at FICE and at the CCBB Brazilian Documentary Awards. In 2005, Marcos Prado was nominated for an Emmy Award in Cinematography for his work
in "Pantanal Cowboys". His directing debut "Estamira" won numerous awards, among them the International Jury Prize at the Rio de Janeiro International Film Festival and the prize for Best Documentary at Karlovy
Vary.
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Estamira
2002 Bus 174
2001 Pantanal Cowboys
2000 The Charcoal People
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2004 Rio de Janeiro International Film
Festival
Best Documentary
2004 S~
ao Paulo International Film Festival
Best Documentary
2005 Miami International Film Festival
Outstanding Achievement
in Cinematography
2005 FICA International Festival of
Environmental Film and Video
Best Feature Film,
Press Award, Audience Award
2005 Festival International du
Documentaire de Marseille
Grand Prix
Prix du Groupement National
des Cinémas de Recherche (GNCR)
2005 Karvoly Vary International
Film Festival
Best Documentary
Belém do Parà Brazilian Film Festival
Best Film, Best Cinematography
2005 Perspektive International Human
Rights Film Festival Nuremberg
Fourth International
Human Rights Award
2005 Goiânia Brazilian Film Festival
Best Documentary
O Marcos Prado
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Marcos Prado about his film
∂Ùԛ̷˙· ¤Ó· ʈÙÔÁÚ·ÊÈÎfi ‰ÔΛÌÈÔ Û ÌÈ· ¯ˆÌ·ÙÂÚ‹ ÙÔ˘ ƒ›Ô ÓÙ ∆˙·Ó¤ÈÚÔ, fiÙ·Ó Û˘Ó¿ÓÙËÛ·
ÙËÓ ∂Ûٷ̛ڷ Ô˘ ‰Ô‡ÏÂ˘Â Î·È ˙Ô‡Û ÂΛ. ∆ËÓ
ÏËÛ›·Û· ÁÈ· Ó· ÙË ÚˆÙ‹Ûˆ ·Ó ÌÔ˘ Â¤ÙÚÂÂ
Ó· ÙË ÊˆÙÔÁڷʛۈ. Œ‰ˆÛ ÙË Û˘ÁηٿıÂÛ‹
Ù˘ Î·È ÌÔ˘ › fiÙÈ ¤¯ÂÈ Ó· ÌÔ˘ ÂÈ «ÔÏÏ¿»: «Ë
·ÔÛÙÔÏ‹ ÌÔ˘ Â›Ó·È Ó· ·Ôηχ„ˆ Î·È Ó· ·ÔηٷÛÙ‹Ûˆ ÙËÓ ·Ï‹ıÂÈ·», «ÂÛ‡ Â›Û·È ¤Ó·˜
ÎÔÈÓfi˜ ¿ÓıÚˆÔ˜, ÂÁÒ fi¯È».
∆Ô ÚÒÙÔ Î›ÓËÙÚÔ Ô˘ ›¯· ÁÈ· Ó· Á˘Ú›Ûˆ ÙËÓ
Ù·ÈÓ›· ‹Ù·Ó Ë ˙ˆ‹ Î·È Ô ÙÚfiÔ˜ ‰È·‚›ˆÛ˘ Ù˘
∂Ûٷ̛ڷ. ™ÙËÓ ·Ú¯‹ ÙˆÓ Á˘ÚÈÛÌ¿ÙˆÓ ·Ó·Î¿Ï˘„· fiÙÈ Ë ∂Ûٷ̛ڷ, ÁÈ· ÚÒÙË ÊÔÚ¿ ÛÙË ˙ˆ‹
Ù˘, ı· ÍÂÎÈÓÔ‡Û ÌÈ· Ê·Ú̷΢ÙÈ΋ „˘¯È·ÙÚÈ΋ ıÂÚ·›·. ◊ıÂÏ· Ó· ‰ˆ ÙÈ ÂÈÙÒÛÂȘ ¤¯Ô˘Ó
Ù· Ê¿Ú̷η Û οÔÈÔÓ Ô˘ ˙ÂÈ Î¿Ùˆ ·fi Û˘Óı‹Î˜ Û·Ó ÎÈ ·˘Ù¤˜ Ô˘ ‚ÈÒÓÂÈ Ë ∂Ûٷ̛ڷ.
ÃÚÂÈ¿ÛÙËη Ù¤ÛÛÂÚ· ¯ÚfiÓÈ· ÁÈ· Ó· Á˘Ú›Ûˆ ÙËÓ
Ù·ÈÓ›· Î·È ¤Ó·˜ ¯ÚfiÓÔ˜ ÁÈ· Ó· ÙË ÌÔÓÙ¿Úˆ. ªÂ
ÙÔÓ Î·ÈÚfi ·Ó·Ù‡¯ıËΠÌÈ· ÛÙÂÓ‹ Û¯¤ÛË ÂÌÈÛÙÔÛ‡Ó˘ Ì·˙› Ù˘. ∆Ë ‰Â‡ÙÂÚË ¯ÚÔÓÈ¿ ÙˆÓ Á˘ÚÈÛÌ¿ÙˆÓ Ë ∂Ûٷ̛ڷ ÌÔ˘ ›Â: «ª¿ÚÎÔ˜, ͤÚÂȘ ÔÈ· Â›Ó·È Ë ·ÔÛÙÔÏ‹ ÛÔ˘ Û’ ·˘Ù‹ ÙË
˙ˆ‹;», Î·È ÚÈÓ Î·Ó ÙÔ ÛÎÂÊÙÒ, ÌÔ˘ ›Â: «Ë ·ÔÛÙÔÏ‹ ÛÔ˘ Â›Ó·È Ó· ·Ôηχ„ÂȘ ÙËÓ ·ÔÛÙÔÏ‹ ÌÔ˘».
I met Estamira while developing a photo documentary essay at a garbage dump in Rio de
Janeiro, where she was working and living. I
approached her asking if I could take her portrait. She consented and told me she had lots
of "things" to say to me: "my mission is to reveal and reclaim the truth", "you are common,
I am not".
The first motivation I had on doing this film
was Estamira’s life and existence. In the beginning of the shootings I discovered Estamira
was starting a public psychiatric treatment
with medicines for the first time in her life. I
wanted to see the results of the medicine in
someone living in such conditions as Estamira
was. It took me four years to finish filming and
one year to edit it. With time I build up a close
relationship of trust with her. By the second
year of shooting, Estamira came to me and
said: "Marcos, do you know what is your mission in this life"? Before I even thought about
it, she said: "Your mission is to reveal my mission".
ECOFILMS
ƒ√¢√™
2006
RODOS
29
∏ ª∂°∞§∏ ∫∞∆∞£§πæ∏
DIE GROSSE DEPRESSION / THE GREAT DEPRESSION
°ÂÚÌ·Ó›· Germany: 2005
¢È¿ÚÎÂÈ· Running time: 88’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Unafilm
Titus Kreyenberg
Georgstraße 15-17
D-50676 Köln
Tel: +0221 3 480 280
Fax +0221 3 480 281
Email: [email protected]
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ Director, Script:
Konstantin Faigle
∫¿ÌÂÚ· Camera: Hajo Schomerus
ªÔÓÙ¿˙ Edit: Dora Vajda
∫ÔÛÙÔ‡ÌÈ· Costumes: Marpa Schneider
∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜
Executive Producer: Dennis Eichstädt
¶·Ú·ÁˆÁfi˜ Producer: Titus Kreyenberg
™‡ÓÔ„ËSynopsis
ª· ÙÈ ÙÚ¤¯ÂÈ Ì ̷˜ ÙÔ˘˜ °ÂÚÌ·ÓÔ‡˜; ∂›Ì·ÛÙ ηٷıÏÈÙÈÎÔ› ÎÏ·„È¿Úˉ˜ ‹ ·ÏÒ˜ ÙÚÂÏÔ›; ∫·Ù·ÙÚ˘Á̤ÓÔ˜ ·fi ·˘Ù¤˜ ÙȘ ÂÚˆÙ‹ÛÂȘ Ô ÛÎËÓÔı¤Ù˘ Konstantin Faigle ÍÂΛÓËÛ ¤Ó· Ôχ ÚÔÛˆÈÎfi Ù·Í›‰È ·fi ÙË ÌÈ· ¿ÎÚË Ù˘ ·ÙÚ›‰·˜ ÙÔ˘ ÛÙËÓ ¿ÏÏË. √ Faigle „¿¯ÓÂÈ ÁÈ· ÙË «‚·ÚÈ¿ ÁÂÚÌ·ÓÈ΋
„˘¯‹», ÙËÓ ÚÔ¤ÏÂ˘Û‹ Ù˘ Î·È ÙÔÓ ÙÚfiÔ Ô˘ ı· ÙËÓ Î¿ÓÂÈ Ó· ÂÙ¿ÍÂÈ ¿ÏÈ „ËÏ¿ ÛÙÔÓ Ô˘Ú·Ófi,
ηıÒ˜ ˆ˜ ̤ÏÏˆÓ ·Ù¤Ú·˜ ·ÚÓÂ›Ù·È Ó· ÌÂÁ·ÏÒÛÂÈ ÙÔ ·È‰› ÙÔ˘ Û ÌÈ· ¯ÒÚ· Ô˘ ¿Û¯ÂÈ ·fi ÔÌ·‰È΋ ηٿıÏÈ„Ë.
What’s wrong with us Germans? Are we depressed whinnies? Or are we just plainly mad?
Haunted by these questions, filmmaker Konstantin Faigle took a highly personal journey
through his home country. Faigle searched for the "deep German Soul", its origins and a way to
fly it up to the sky again, as the expecting father refuses to raise his child in collectively depressed nation.
30
ECOFILMS
ƒ√¢√™
2006
RODOS
Konstantin Faigle
°ÂÓÓ‹ıËΠÙÔ 1971. ªÂÙ¿ ÙȘ ÛÔ˘‰¤˜ ÙÔ˘ ÛÙËÓ Ù¯ÓÔÏÔÁ›· ÙˆÓ ªª∂ ÍÂΛÓËÛ ÙËÓ Î·ÚȤڷ ÙÔ˘ ÌÂٷ͇ ¿ÏψÓ
ˆ˜ ÌÔÓÙ¤Ú, ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜ Î·È ÛÎËÓÔı¤Ù˘ ÛÙËÓ ÙËÏÂfiÚ·ÛË (WDR, ZDF Î·È arte). ∆Ô 2002 ·ÔÊÔ›ÙËÛ ·fi ÙÔ
Cologne Academy of Media Arts Î·È ¤ÎÙÔÙ ‰Ô˘Ï‡ÂÈ ˆ˜ ÛÎËÓÔı¤Ù˘. ∂ÎÙfi˜ ·fi ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ Ù·Èӛ˜ Á‡ÚÈÛÂ
ÙÔ 2001/2002 ÙÔ ÚÒÙÔ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ ÓÙÔÎÈÌ·ÓÙ¤Ú ÙÔ˘ "Out of Edeka", ÙÔ ÔÔ›Ô Î¤Ú‰ÈÛ ÙÔ ‚Ú·‚Â›Ô ÓÙÔÎÈÌ·ÓÙ¤Ú Ù˘ µ·˘·Ú›·˜ "Der junge Löwe".
µorn 1971, initially worked as editor, freelance author and director amongst others for the WDR, ZDF and arte
after completing his BEng in Media Technology. In 2002 he graduated from the Cologne Academy of Media
Arts and has been working as a freelance filmmaker since then. Besides a number of short films he filmed his
first feature length documentary "Out of Edeka" in 2001/2002 which received the Bavarian Documentary
Film Award "Der junge Löwe".
Konstantin Faigle
c/o Jardon
Stamm str. 99
D-50823 Cologne
Germany
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Die grosse Depression
2003 Materazzo
2002 Out of Edeka
2000 Bach légère
1999 Nur drei Worte...
1998 Ein kurzer Film über die Liebe
1997 Die Loreley
1995 Ritus
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
Munich, Bieberach, Kassel, Amsterdam, Kiev
√ Konstantin Faigle
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Konstantin Faigle about his film
¢ÂÓ Â›¯· ÛÎÔfi Ó· οӈ ÌÈ· ΢ÓÈ΋ Ù·ÈÓ›· ηÈ
Ó· Û˘ÌÌÂÙ¿Û¯ˆ ÛÙËÓ ·˘ÙÔ·Ô‰ÔÎÈÌ·Û›· ηÈ
ÙËÓ ·˘ÙÔηٿÎÚÈÛË fiˆ˜ Û˘ÓËı›˙ÂÙ·È, fiÔ˘ ›̷ÛÙ ‹‰Ë ·ÁÎfiÛÌÈÔÈ ÚˆÙ·ıÏËÙ¤˜. «∏ ÌÂÁ¿ÏË Î·Ù¿ıÏÈ„Ë» Â›Ó·È Ë ÂÓÙÂÏÒ˜ ÚÔÛˆÈ΋, ÂÈÚˆÓÈ΋ Ì· ¿Óˆ ·fi fiÏ· ·˘ÙÔÛ·ÚηÛÙÈ΋ Ì·ÙÈ¿ ¿Óˆ ÌÔ˘, ¿Óˆ ÛÙÔ˘˜ Û˘Ó·ÓıÚÒÔ˘˜
ÌÔ˘ Î·È ÙËÓ ·ÙÚ›‰· ÌÔ˘. ™Ù·Ì·Ù‹ÛÙ ӷ ·›ÚÓÂÙ·È ÙÔÓ Â·˘Ùfi Û·˜ ÛÔ‚·Ú¿! ∞˘Ù‹ Â›Ó·È Ë ‚·ÛÈ΋ ÌÔ˘ ı¤ÛË ÛÙËÓ Ù·ÈÓ›·.
I did not set out to make a cynical film and
join in the customary self-deprecation and
self-castigation we are already world champions at. "The Great Depression" is my very personal, but also serious, ironic and above all full
of self-mockery view on myself, my fellow human beings and my country. Stop taking yourselves so seriously! That is the basic position I take with this film
ECOFILMS
ƒ√¢√™
2006
RODOS
31
§√À¡∆ªπ§∞ ∫∞π ∞¡∞∆√§π
LJUDMILA & ANATOLIJ
™Ô˘Ë‰›·, √˘ÎÚ·Ó›·
Sweden, Ukraine, 2005
¢È¿ÚÎÂÈ· Running time: 86ã
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
FantomFilm Produktion AB
Pelle Roskvist, producer
∆el: +46 709 29 91 49
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director:
Gunnar Bergdahl
ºˆÙÔÁÚ¿ÊÔ˜ Photographer:
Anders Bohman fsf
ªÔÓÙ¿˙ Edit: Rasmus Ohlander sfk,
Anette Lykke Lundberg sfk
¶·Ú·ÁˆÁfi˜ Producer: Pelle Roskvist
◊¯Ô˜ Sound: Andreij Bochman
ªÔ˘ÛÈ΋ Music:
Pelle Bolander & Björn Knutsson
32
™‡ÓÔ„ËSynopsis
ªÈ· Ù·ÈÓ›· ÁÈ· ÙÔÓ ¤ÚˆÙ·, ÙË ıÏ›„Ë Î·È ÙËÓ ÂÈ‚›ˆÛË Î¿Ùˆ ·fi ÙË ÛÎÈ¿ Ù˘ ηٷÛÙÚÔÊ‹˜ ÙÔ˘
∆Û¤ÚÓÔÌÈÏ. ª›· ÌËÙ¤Ú· Î·È Ô ÁÈÔ˜ Ù˘, Î·È Ë ‰È·Ú΋˜ ¿ÏË ÌÂٷ͇ ·Ó·ÌÓ‹ÛÂˆÓ Î·È ÂÏ›‰ˆÓ, ÌÂٷ͇ ·ÚÂÏıfiÓÙÔ˜ Î·È Ì¤ÏÏÔÓÙÔ˜.
A film about love, sorrow and surviving in the shadow of the disaster of Chernobyl. A mother
and her son - and the everlasting struggle between memories and hopes, between the past and
the present.
ECOFILMS
ƒ√¢√™
2006
RODOS
Gunnar Bergdahl
°ÂÓÓ‹ıËΠÙÔ 1951 ÛÙË ™ÙÔίfiÏÌË Ù˘ ™Ô˘Ë‰›·˜. ∞fi ÙÔ 1994 ̤¯ÚÈ ÙÔ 2002 ‹Ù·Ó ‰È¢ı˘ÓÙ‹˜ ÙÔ˘ Göteborg
Film Festival. ∆Ô ÓÙÔÎÈÌ·ÓÙ¤Ú ÙÔ˘ «∏ ʈӋ ÙÔ˘ ª¤ÚÁÎÌ·Ó» ¤¯ÂÈ ·ÚÔ˘ÛÈ·ÛÙ› Û ÂÚÈÛÛfiÙÂÚ· ·fi 80 ÊÂÛÙÈ‚¿Ï ÌÂٷ͇ ÙˆÓ ÔÔ›ˆÓ Î·È ÙÔ Forum Ù˘ Berlinale ÙÔ 1998. «∏ ʈӋ Ù˘ §Ô˘ÓỪϷ», ÌÈ· Ù·ÈÓ›· ÁÈ· ÌÈ· ¯‹Ú·
·fi ÙÔ ∫›Â‚Ô Ù˘ √˘ÎÚ·Ó›·˜ Ô˘ ¤¯·Û ÙÔÓ Û‡˙˘Áfi Ù˘ ÛÙËÓ Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘ ∆Û¤ÚÓÔÌÈÏ, ·ÚÔ˘ÛÈ¿ÛÙËΠÛÙÔ
Forum Ù˘ Berlinale ÙÔ 2002. ∏ Ù·ÈÓ›· «ÿÁÎÌ·Ú ª¤ÚÁÎÌ·Ó: πÓÙÂṲ́Ù˙Ô» ¤Î·Ó ÙËÓ ÚÂÌȤڷ Ù˘ ÛÙÔ ÊÂÛÙÈ‚¿Ï
ÙˆÓ ∫·ÓÓÒÓ ÙÔ 2002.
Gunnar Bergdahl
Born in 1951 in Stockholm, Sweden. Between 1994 – 2002 he was Festival Director of Göteborg Film Festival.
His documentary "The Voice of Bergman" has been presented at more than 80 international festivals including Forum/Berlin 1998. "The Voice of Ludmila", about a widow in Kiev Ukraine who lost her husband in the
disaster of Chernobyl, was presented at Forum/Berlin 2002. "Ingmar Bergman; Intermezzo" premiered in
Cannes 2002.
Mattssonsliden 10
41318 Gothenburg, Sweden
Tel: +46 31 244119, +46 702 709266
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 Ljudmila & Anatolij
2003 The Voice of Silence (short)
2002 Ingmar Bergman; Intermezzo
2001 The Voice of Ludmila
1997 The Voice of Bergman
√ Gunnar Bergdahl
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Gunnar Bergdahl about his film
∆È Â˘ı‡ÓË ÂˆÌÈ˙fiÌ·ÛÙ fiÙ·Ó Ï¤Ì Û οÔÈÔÓ
¿ÏÏÔÓ: ™Â ·Á·Ò; ŸÙ·Ó Ô ·ÓÙȉڷÛÙ‹Ú·˜ 4 ÛÙÔ
∆Û¤ÚÓÔÌÈÏ ·Ó·ÙÈÓ¿¯ıËΠÂΛÓË ÙË ˙ÂÛÙ‹ Ó‡¯Ù·
ÙÔÓ ∞Ú›ÏË ÙÔ˘ 1986 Ë §Ô˘ÓỪϷ πÁÎÓ·Ù¤ÓÎÔ ·Ó·ÁοÛÙËÎÂ, Ì·˙› Ì ¿ÏϘ ¯ÈÏÈ¿‰Â˜ ¿ÏψÓ, Ó· ·ÓÙÈÌÂÙˆ›ÛÂÈ ÙË ‚·ı‡ÙÂÚË ¤ÓÓÔÈ· Ù˘ ∞Á¿˘, Ù˘
¶›ÎÚ·˜ Î·È Ù˘ ∂È‚›ˆÛ˘. ªÈ· ·ÓıÚÒÈÓË ÙÚ·Áˆ‰›· ÌÔÚ› Ó· Â›Ó·È ÌÈÎÚ‹ Î·È Ó· ÌË Á›ÓÂÈ ·ÓÙÈÏËÙ‹ ·fi ηӤӷÓ, ÌÔÚ› Â›Û˘ Ó· Â›Ó·È ·ÁÎfiÛÌÈ· fiˆ˜ ·˘Ù‹ ÛÙÔ ∆Û¤ÚÓÔÌÈÏ ÚÈÓ ·fi 20
¯ÚfiÓÈ·. ™ÙÔ Ù¤ÏÔ˜ ˘¿Ú¯Ô˘Ó ¿ÓÙ· Ù· ›‰È· ÂÚˆÙ‹Ì·Ù·: ¶Ò˜ ˙ԇ̠ÙȘ ˙ˆ¤˜ Ì·˜ ˆ˜ ¿ÓıÚˆÔÈ; ∆È
¢ı‡ÓË ¤¯Ô˘Ì ·¤Ó·ÓÙÈ Û ·˘ÙÔ‡˜ Ô˘ ·Á·¿ÌÂ; ∞¤Ó·ÓÙÈ ÛÙËÓ ÎÔÈÓˆÓ›·; ∞¤Ó·ÓÙÈ ÛÙ· ·È‰È¿
Ì·˜; ∏ Ù·ÈÓ›· ·˘Ù‹ ÁÈ· ÌÈ· Ó¤· √˘ÎÚ·Ó‹ ¯‹Ú· ηÈ
ÙÔ ÁÈÔ Ù˘ Â›Ó·È ÌÈ· ‰È·Ú΋˜ ÈÛÙÔÚ›· ·Á¿˘, ÌÈ·
·ÓÙ·fiÎÚÈÛË ·fi ÙÔ Â›ÎÂÓÙÚÔ Ù˘ ηٷÛÙÚÔÊ‹˜.
What responsibility do we put on ourselves
when we say to another person: I love you?
When reactor 4 in Chernobyl exploded that
warm night in April 1986 Ljudmila Ignatenko
was forced - together with thousands others to confront the inner meaning of Love and
Sorrow and Surviving. A human tragedy could
be small and not notified by any one, it can also be global like the one in Chernobyl 20
years ago. In the end there will always be the
same questions: How do we live our lives as
human beings? What responsibility do we
have towards our dear ones? To a society? To
the future? To our kids? This film about a young Ukrainian widow and her son is an ongoing story of love, a report from the epicenter of a disaster.
ECOFILMS
ƒ√¢√™
2006
RODOS
33
ª∞¡∞-¶∂ƒ∞ ∞¶√ ∆∏¡ ¶π™∆∏
MANA-BEYOND BELIEF
∏¶∞ USA, 2004
¢È¿ÚÎÂÈ· Running time: 90’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
filmswelike
24 Mercer Street
Toronto, ON. M5V 1H3
Canada
www.filmswelike.com
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ
Director, Script: Peter Friedman,
Roger Manley
ªÔÓÙ¿˙ Edit: Laurent Pineau
◊¯Ô˜ Sound: Christian Lutz
¶·Ú·ÁˆÁfi˜ Producer: Jaques Debs,
Delphine Morel, Peter Friedman,
Roger Manley
™˘Ì·Ú·ÁˆÁÔ› Co-producers:
Jens Meurer, Hetty Naaijkens,
Retel Helmrich, Sven Boeck
34
™‡ÓÔ„ËSynopsis
∏ ϤÍË «ª¿Ó·» ÛÙ· ÔÏ˘ÓËÛȷο ˘Ô‰ËÏÒÓÂÈ ÙË ‰‡Ó·ÌË Ô˘ ‚Ú›ÛÎÂÙ·È Ì¤Û· ÛÙ· Ú¿ÁÌ·Ù·.
ŒÙÛÈ ÏÔÈfiÓ, ¤Ó·˜ ÈÂÚ¤·˜ ÙˆÓ ª·fiÚÈ Ô˘ ÎÈÓËÌ·ÙÔÁÚ·Ê‹ıËΠÛÙËÓ ¡¤· ∑ËÏ·Ó‰›· ·ÓÔ›ÁÂÈ ÙËÓ ·˘Ï·›· Û ÌÈ· Ô‰‡ÛÛÂÈ· Ô˘ Ì·˜ ¿ÂÈ ·fi ÙȘ ÂÚ‹ÌÔ˘˜ Ù˘ ∞ÚÈ˙fiÓ·˜ ÛÙËÓ ∞Û›·, ÙËÓ ∞ÊÚÈ΋ Î·È ÙËÓ
∂˘ÚÒË Î·È Î·Ù·Ï‹ÁÂÈ Û ÌÈ· Ú·ÁÌ·ÙÈ΋ Ì˯·Ó‹ ÙÔ˘ ¯ÚfiÓÔ˘, Ô˘ οÓÂÈ ÛÙ¿ÛÂȘ Û ˘ÚËÓÈÎÔ‡˜
·ÓÙȉڷÛÙ‹Ú˜, ÌÔ˘Û›· Ù¤¯Ó˘, Ó·Ô‡˜ ÛÙË ªÔ‡ÚÌ·, ÛÙËÓ Elvisland, Û ·Ú¯·ÈÔοËÏÔ˘˜, ÙÂÏÂÙ¤˜ ‚Ô˘ÓÙÔ‡ Î·È ÛÙȘ ·›ıÔ˘Û˜ ÙÔ˘ ∫ÔÁÎÚ¤ÛÔ˘. ∆Ô «ª¿Ó·-¶¤Ú· ·fi ÙËÓ ›ÛÙË» Â›Ó·È ÌÈ· ÂÚÈ¤ÙÂÈ·, ÙfiÛÔ ·fi ÙÔ ¤Ó· ÛËÌÂ›Ô ÙÔ˘ ÎfiÛÌÔ ÛÙÔ ¿ÏÏÔ, fiÛÔ Î·È Ì¤Û· ÛÙÔ ·ÓıÚÒÈÓÔ Ì˘·Ïfi.
Mana is the Polynesian word for the power that resides in things. Appropriately, a Maori priest
filmed in a New Zealand rainforest sets the stage for an odyssey which takes us from the Arizona
deserts through Asia, Africa and Europe and finally to a real-life time machine-with stops along
the way at nuclear reactors, art museums, Burmese temples, Elvisland, relic smugglers, voodoo
ceremonies and the halls of Congress. "Mana-beyond belief" is an adventure, both across the
globe and into the human mind.
ECOFILMS
ƒ√¢√™
2006
RODOS
Peter Friedman
∂›Ó·È È‰Ú˘Ù‹˜ Ù˘ ·ÓÂÍ¿ÚÙËÙ˘ ÂÙ·ÈÚ›·˜ ·Ú·ÁˆÁ‹˜ Ù·ÈÓÈÒÓ Strange Attractions, Inc. ∞fi ÙÔ 1984 ÛÎËÓÔıÂÙ›
Î·È ·Ú¿ÁÂÈ Ù·Èӛ˜ Ô˘ ¤¯Ô˘Ó ¿ÚÂÈ ÔÏÏ¿ ‚Ú·‚›·, ÌÂٷ͇ ·˘ÙÒÓ ÙÔ ÌÂÁ¿ÏÔ ‚Ú·‚Â›Ô Ù˘ ÎÚÈÙÈ΋˜ ÂÈÙÚÔ‹˜
ÙÔ˘ Sundance, ÙÔ ‚Ú·‚Â›Ô ÎÚÈÙÈÎÒÓ ÙÔ˘ §Ô˜ ÕÓÙ˙ÂϘ ÁÈ· ÙËÓ Î·Ï‡ÙÂÚË ·ÓÂÍ¿ÚÙËÙË Ù·ÈÓ›· Î·È ÙÔ ‚Ú·‚›Ô
Peabody. √ Friedman ˘‹ÚÍ ̤ÏÔ˜ ÎÚÈÙÈ΋˜ ÂÈÙÚÔ‹˜ Û ‰È¿ÊÔÚ· ÊÂÛÙÈ‚¿Ï, fiˆ˜ ÛÙÔ ÊÂÛÙÈ‚¿Ï ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ FIPA, ÙÔ idf ÛÙÔ ÕÌÛÙÂÚÓÙ·Ì, Î·È ÛÙÔ Visions du Réel ÛÙË §˘ÒÓ.
He is the founder of the independent film production company Strange Attractions, Inc. Since 1984 he has
directed and produced films which have received numerous awards, including the Sundance Grand Jury
Prize, the LA Film Critics Award for Best Independent Film, a Peabody Award. Friedman has served on the
juries of numerous festivals such as the FIPA Film Festival, the idf in Amsterdam, and the Visions du Réel Film
Festival in Nyon.
Peter Friedman
Strange Attractions Inc.
70-A Greenwich Ave. #377
New York, New York 10011
Tel: +1 212 642 5309\
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
1998 The Life and Times of Life and Times
There are No Direct Flights from New
York to Marseilles
1995 Death by Design
1993 Silverlake Life
1991 Fighting in Southwest Louisiana
Talk to Animals
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
Roger Manley
∆· ‚È‚Ï›·, Ù· ÛÂÓ¿ÚÈ¿, ÔÈ ÊˆÙÔÁڷʛ˜ Î·È ÔÈ ÂÈ̤ÏÂȘ ÂÎı¤ÛÂˆÓ ÙÔ˘ Roger Manley ·fiÛ·Û·Ó ·ÁÎfiÛÌÈ·
Ê‹ÌË, ȉȷ›ÙÂÚ· ÛÙËÓ Ù¤¯ÓË ÙÔ˘ ÂÚÈıˆÚ›Ô˘. °È· ÔÏÏ¿ ¯ÚfiÓÈ· ÎÈÓËÌ·ÙÔÁÚ·ÊÔ‡Û ÙȘ ˙ˆ¤˜ ∞˘ÛÙÚ·ÏÒÓ ∞‚ÔÚÈÁ›ÓˆÓ, ¶·Ï·ÈÛÙ›ÓÈˆÓ ¯ˆÚÈÎÒÓ Î·È ∞ÌÂÚÈηÓÒÓ Èı·ÁÂÓÒÓ, Î·È ÂÈÌÂÏ‹ıËΠÙȘ ÂÎı¤ÛÂȘ ÂÁηÈÓ›ˆÓ ÙÔ˘ Ó¤Ô˘
American Visionary Art Museum.
√ Manley ΤډÈÛ ÔÏÏ¿ ‚Ú·‚›· fiˆ˜ ÙÔ ÌÂÙ¿ÏÏÈÔ Andrew Carnegie, ÙÔ C.I.N.E. Golden Eagle, Î·È ÙÔ ‚Ú·‚›Ô
ηχÙÂÚÔ˘ ÛÂÓ·Ú›Ô˘ ÙÔ˘ Washington Film Festival. √È ÊˆÙÔÁڷʛ˜ ÙÔ˘ Ì ·˘Ùfi¯ıÔÓ˜ Î·È Î·ÏÏÈÙ¤¯Ó˜ Ù˘ Ù¤¯Ó˘ ÙÔ˘ ÂÚÈıˆÚ›Ô˘ ¤¯Ô˘Ó ÂÎÙÂı› Û ÁηÏÂÚ› Î·È ÌÔ˘Û›· Û fiÏÔ ÙÔÓ ÎfiÛÌÔ.
His books, screenplays, photographs and curatorial endeavors have earned him a world-class reputation,
particularly in the field of Outsider Art. His vast range of experience includes years spent documenting the
lives of Australian Aboriginals, Palestinian villagers and Native Americans, and curating the inaugural
exhibitions of the new American Visionary Art Museum.
Manley has won film awards including the Andrew Carnegie Medal, a C.I.N.E. Golden Eagle, and Best Feature
Screenplay (Washington Film Festival). Manley’s still photos of indigenous peoples and outsider artists have
been exhibited in galleries and museums worldwide.
Ifd Amsterdam
sxsw
√È Peter Friedman ηÈ
Roger Manley ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘˜
Peter Friedman and
Roger Manley about their film
∏ ÎÂÓÙÚÈ΋ ȉ¤· ›Ûˆ ·fi ÙËÓ Ù·ÈÓ›· «ª¿Ó·¶¤Ú· ·fi ÙËÓ ›ÛÙË» ‚Ú›ÛÎÂÙ·È ÛÙÔÓ ÙÚfiÔ
Ô˘ ÔÈ ¿ÓıÚˆÔÈ Û˘ÌÂÚÈʤÚÔÓÙ·È ·ÚÔ˘Û›·
·ÓÙÈÎÂÈÌ¤ÓˆÓ ÈÛ¯‡Ô˜ Î·È ·ÔηχÙÂÈ ¤Ó· Ì˯·ÓÈÛÌfi Ù˘ ·ÓıÚÒÈÓ˘ ÛΤ„˘ Ô˘ Â›Ó·È ıÂÌÂÏÈ҉˘ Î·È Û˘Ì·ÓÙÈÎfi˜: ÙËÓ ›ÛÙË. ¶›ÛÙË
‰ÂÓ Â›Ó·È ÌfiÓÔ Ë ıÚËÛΛ·: Ë ›ÛÙË Î·ıÔ‰ËÁ›
ÙÔ ¯ÚËÌ·ÙÈÛÙ‹ÚÈÔ, ηıÔÚ›˙ÂÈ Ò˜ ·ÓÙÈÌÂÙˆ›˙Ô˘Ì ÙËÓ ÈÛÙÔÚ›· Î·È ÙȘ ÚÔÛˆÈΤ˜ Ì·˜ ÌӋ̘, ˘fiÎÂÈÙ·È ÙÔ˘ Ú·ÙÛÈÛÌÔ‡ Î·È ÙÔ˘ ÔϤÌÔ˘.
ªÂ ÙË Û˘ÁΤÓÙÚˆÛË ‰È·ÊÔÚÂÙÈÎÒÓ ÔÏÈÙÈÛÌÒÓ, ¯·Ú·ÎÙ‹ÚˆÓ, ÔÙÈÎÒÓ ÛÙÈÏ, ÌÔ˘ÛÈ΋˜
Î·È Û˘Ó·Ú·ÛÙÈÎÒÓ ·ÓÙÈÎÂÈ̤ӈÓ, Ì·˜ ‰›ÓÂÙ·È
Ë ‰˘Ó·ÙfiÙËÙ· Ó· ‰Ô‡Ì ÙÔ Ô˘ÛÈ҉˜, ·fiÚ·ÙÔ
ÛÙÔÈ¯Â›Ô Ô˘ Ù· ‰È¤ÂÈ.
The central idea behind "Mana-beyond belief"
is that the way people behave in the presence
of these power objects and reveals a process
of the human mind which is fundamental and
universal: belief. Belief is not just religion; it
drives the stock market, it determines how we
deal with history and our personal memories,
it underlies racism and war. Bringing together
diverse cultures, characters, visual styles,
music and fascinating objects, Mana helps us
see the essential, invisible element underlying
them all.
ECOFILMS
ƒ√¢√™
2006
RODOS
35
ª¡∏ª∏ À¶√ ∫ƒ∞∆∏™∏
MÉMOIRE EN DÉTENTION / MEMORY IN DETENTION
ª·ÚfiÎÔ Morocco, 2004
¢È¿ÚÎÂÈ· Running time: 94’
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ
Director, Script: Jillali Ferhati
∫¿ÌÂÚ· Camera: Kamal Derkaoui
◊¯Ô˜ Sound: Eric Vaucher
ªÔÓÙ¿˙ Edit: Ali Benchakroun
ªÔ˘ÛÈ΋ Music: Hassan and Ali Souissi
∏ıÔÔÈÔ› Cast: Mohamed Marouazi,
Fatema Loukili, Jillali Ferhati
36
™‡ÓÔ„ËSynopsis
ŒÓ·˜ Ó·Úfi˜ ÚÒËÓ Î·Ù¿‰ÈÎÔ˜ Ô˘ ÌfiÏȘ ‚Á‹Î ·fi ÙË Ê˘Ï·Î‹, ·Ó·Ï·Ì‚¿ÓÂÈ ÙË ‰‡ÛÎÔÏË ·ÔÛÙÔÏ‹ Ó· ÂÓÙÔ›ÛÂÈ ÙÔ Û˘ÁÁÂÓ‹ ÂÓfi˜ ÚÒËÓ Û˘ÁÎÚ·ÙÔ‡ÌÂÓÔ˘, Ô ÔÔ›Ô˜ ¤¯·Û ÙË ÌÓ‹ÌË ÙÔ˘ ηٿ
ÙË ‰È¿ÚÎÂÈ· Ù˘ Ì·ÎÚÔ¯ÚfiÓÈ·˜ Ê˘Ï¿ÎÈÛ‹˜ ÙÔ˘.
A young delinquent who has just come out of prison finds himself put to a difficult mission to
track a relative of an ex-detainee who lost his memory during the long years of his detention.
ECOFILMS
ƒ√¢√™
2006
RODOS
Jillali Ferhati
°ÂÓÓ‹ıËΠÙÔ 1948 ÛÙËÓ ∆·ÁÁ¤ÚË ÙÔ˘ ª·ÚfiÎÔ. ™Ô‡‰·Û ÊÈÏÔÏÔÁ›· Î·È ÎÔÈÓˆÓÈÔÏÔÁ›· ÛÙÔ ¶·Ú›ÛÈ Î·È Û˘ÌÌÂÙ›¯Â
ÛÙȘ ‰Ú·ÛÙËÚÈfiÙËÙ˜ ÙÔ˘ Université Internationale du Théatre. ™ÎËÓÔı¤ÙËÛ ‰‡Ô Ù·Èӛ˜ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ ÚÈÓ Á˘Ú›ÛÂÈ ÙÔ 1978 ÙË ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ "Une brèche dans le mur". ªÂ ÙËÓ Ù¤Ù·ÚÙË Ù·ÈÓ›· ÙÔ˘ "La plage des enfants
perdus" Û˘ÌÌÂÙ›¯Â ÛÙË Mostra Ù˘ µÂÓÂÙ›·˜.
He was born in Tanger, Maroco. In Paris he studied Languages and Sociology and participated at the activities of
the Université Internationale du Théatre. After two short films in 1978 he directed his first long lenght film "Une
brèche dans le mur". His fourth long lengh film "La plage des enfants perdus" was screened in Mostra of Venice.
Jillalik Ferhati
7. Rue Fenikienne
Tanger
Morocco
Tel: +212 39 93 08 11
Fax: +212 39 93 08 11
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2004 Mémoire en détention
2000 Tresses
1995 Chevaux de Fortune
1991 La Plage des Enfants Perdus
1981 Poupées de Roseau
1978 Brèche dans le Mur
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
Prix du scénario au Festival International du
CAIRE
Grand Prix – Festival du cinéma Arabe de
Rotterdam
Grand Prix – Festival du cinéma
méditerranéen de Tétouan
Prix Spécial du Jury – Festival National
(Maroc)
Prix Spécial du Jury – Festival International
De Rabat
Prix de la réalisation – 1ÆFestival Maghrébin
Mention spéciale de la jeunesse au Festival
de Montpellier
√ Jillali Ferhati ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Jillali Ferhati about his film
∏ ÈÔ ÌÂÁ¿ÏË ÌÔ˘ ÂÈı˘Ì›· ηٿ ÙË ‰ËÌÈÔ˘ÚÁ›· ·˘Ù‹˜ Ù˘ Ù·ÈÓ›·˜, ‹Ù·Ó Ó· ÙÈÌ‹Ûˆ ·˘ÙÔ‡˜
ÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ô˘ ¤Ú·Û·Ó ÁÈ· ÔÏÏ¿ ¯ÚfiÓÈ· ÙË ˙ˆ‹ ÙÔ˘˜ ̤۷ ÛÙÔ ÛÎÔÙ¿‰È. °È· ¯ÈÏÈ¿‰Â˜
̤Ú˜ ÂΛÓÔÈ ÔÓÂÈÚ‡ÔÓÙ·Ó Î·È ¤¯ÙÈ˙·Ó ÙËÓ ÂÏ›‰· ÁÈ· ÙÔ˘˜ ¿ÏÏÔ˘˜ ·ÏÏ¿ Î·È ÁÈ· ÂÌ¿˜.
∆Ô˘˜ ÔÊ›ÏÔ˘Ì ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ÎÔÌÌ¿ÙÈ ÁÈ· fiÏ· fiÛ· ¤¯Ô˘ÌÂ Î·È ·ÔÏ·Ì‚¿ÓÔ˘Ì ۋÌÂÚ· ÛÂ
·˘Ù‹ ÙË ¯ˆÚ¿. ∞˘Ùfi ÙÔ ÛÎÏËÚfi ÛÎÔÙÂÈÓfi ÎÔÌÌ¿ÙÈ Ù˘ ÈÛÙÔÚ›·˜ Ì·˜ Ú¤ÂÈ Ó· ÂÍ·Ê·ÓÈÛÙ› ÁÈ·
¿ÓÙ·. ∞˜ ÙÔ ÙÔÔıÂÙ‹ÛÔ˘Ì ÙÒÚ· Ì ÙË ÛÂÈÚ¿
ÙÔ˘ Û ¤Ó·Ó ·ÓÙ›ÛÙÔÈ¯Ô ÂÁÎÏÂÈÛÌfi.
My greatest desire –while I was making this
film- was to honour all these people who
spent their lives confined to the darkness. For
thousands of days they were making dreams
and hopes for the others and for us.
We owe them a lot of what we belong and enjoy in this land today. This dark part of our history should disappear forever. Let us set it
now in an equivalent confinement.
ECOFILMS
ƒ√¢√™
2006
RODOS
37
™∞ª¶∞
SABA
πÛÚ·‹Ï Israel, 2005
¢È¿ÚÎÂÈ· Running time: 61’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Michael Treves
JMT Films Distribution and Worldwide Sales
20, Bialik st.
Tel-Aviv 63324
Israel
Tel: +972-3-525 4782
Fax: +972-3-525 4782, +972-523-633 398
Email: [email protected]
www.jmtfilms.com
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·, ªÔÓÙ¿˙, ŒÚ¢ӷ,
™ÂÓ¿ÚÈÔ, ◊¯Ô˜, ¶·Ú·ÁˆÁfi˜
Director, Camera, Edit, Research,
Script, Sound, Producer:
Amram Jacoby
™‡ÓÔ„ËSynopsis
∂‰Ò Î·È 90 ¯ÚfiÓÈ· Ô ·Ô‡˜ ¤ÌÂÈÓ ÛȈËÏfi˜. √ ∞‚Ú·¿Ì ∂˙ÂÎÈ‹Ï, ¤Ó·˜ ∂‚Ú·›Ô˜ ÁÂÓÓË̤ÓÔ˜ ÛÙÔ
πÚ¿Î, ÌÂÙ·Ó¿ÛÙ¢Û ÛÙË ¯ÒÚ· ÙÔ˘ πÛÚ·‹Ï ÙÔ 1929. ∫·Ù· ÙË ‰È¿ÚÎÂÈ· Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ ÙÚÈ¿ÓÙ· ‹Ù·Ó ¤Ó·˜ ÛËÌ·ÓÙÈÎfi˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ Ù˘ ÂÊËÌÂÚ›‰·˜ "Palestine Bulletin" Î·È ÏÂÈÙÔ˘ÚÁÔ‡Û ˆ˜
Á¤Ê˘Ú· ÂÈÎÔÈÓˆÓ›·˜ ÌÂٷ͇ ∞Ú¿‚ˆÓ Î·È ∂‚Ú·›ˆÓ, ÌÂٷ͇ ∞Ó·ÙÔÏ‹˜ Î·È ¢‡Û˘. ∂›Ó·È ¤Ó·˜ ¿ÓıÚˆÔ˜ ·ÊÈÂڈ̤ÓÔ˜ Û ÌÈ· ·ÔÛÙÔÏ‹ Ô˘ ‰ÂÓ ÂÎÏËÚÒıËÎÂ, ¤Ó·˜ ·Ú¯ËÁfi˜ Ô˘ ‰ÂÓ ËÁ‹ıËÎÂ.
∞˘Ù‹ Ë Ù·ÈÓ›· Â›Ó·È ÙÔ ËÌÂÚÔÏfiÁÈÔ ÂÓfi˜ ·Û˘Ó‹ıÈÛÙÔ˘ ·ÓıÚÒÔ˘, ̤ۈ ÙÔ˘ ÔÔ›Ô˘ ¿ÊËÛÂ Ô ÂÁÁÔÓfi˜ ÙÔ˘ Ó· ·ÎÔ˘ÛÙ› Ë ÊˆÓ‹ ÙÔ˘. ¢›ÓÂÈ ÛÙÔÓ ·Ô‡ ÛÙ· 92 ÙÔ˘ ¤Ó· ÏfiÁÔ Ó· ˙‹ÛÂÈ Î·È ·ÔηχÙÂÈ ÙËÓ ·Ú¯·›· ÁÓÒÛË ÙÔ˘ ÁÈ· ÙÔÓ ÎfiÛÌÔ.
For 90 years Grandfather was silent. Avraham Ezekiel, a Jew born in Iraq, immigrated to the
Land of Israel in 1929. During the 1930’, he was an important journalist of the "Palestine
Bulletin" and has been a bridge between Arabs and Jews and between East and West. He is a
man of mission, that has not been fulfilled, a leader who didn't lead. This film is an unusual
man's journal, through which his grandson let his voice be heard. It provides Grandfather, at the
age of ninety-two with a reason to live, and reveals his ancient wisdom to the world
38
ECOFILMS
ƒ√¢√™
2006
RODOS
Amram Jacoby
°ÂÓÓ‹ıËΠÛÙË ÓfiÙÈ· ÔÏË ÙÔ˘ πÛÚ·‹Ï ∞Ú¿ÓÙ ÙÔ 1978, ·ÔÊÔ›ÙËÛ ·fi ÙÔ ÙÌ‹Ì· ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ∆ËÏÂfiÚ·Û˘ ÙÔ˘ Sapir Academic College. √ ∞ÌÚ¿Ì ·Û¯ÔÏÂ›Ù·È ÙfiÛÔ Ì ÙË ÊˆÙÔÁÚ·Ê›· fiÛÔ Ì ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ. √È
ʈÙÔÁڷʛ˜ ÙÔ˘ ¤¯Ô˘Ó ÂΉÔı› Û ‰È¿ÊÔÚ· Ù·ÍȉȈÙÈο Î·È Î·ÏÏÈÙ¯ÓÈο ÂÚÈÔ‰Èο.
Born in the southern town of Arad, Israel, 1978. Graduate of the Film & Television department at the Sapir Academic College. Amram practices stills photography as well as film. His photographs published in various
travel and art magazines.
Amram Jacoby
51 Nof St
Arad 89069
Israel
Tel: +972-8-9958330
Email: [email protected]
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
KaraFilm Festival Pakistan
Earth Vision for children, Tokyo, Japan
Green Film Festivla Seoul, Korea,
Green Vision St. Petersburg, Russia
MEFEST, Serbia and Montenegro
CINEECO, Portugal
ENVIROFILM, Slovakia
√ Amram Jacoby ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Amram Jacoby about his film
¶ÚÈÓ ·fi ÙÚ›· ¯ÚfiÓÈ· Ô ·Ô‡˜ ÌÔ˘ ÎÈ ÂÁÒ
ÍÂÎÈÓ‹Û·Ì ÁÈ· ¤Ó· Ù·Í›‰È Ô˘ ·ÔÎ¿Ï˘„ ÙÔÓ
ͯ·Ṳ̂ÓÔ ÙÔ˘ ·˘Ùfi. ∆Ô Ù·Í›‰È ÂÓfi˜ ·ÓıÚÒÔ˘ ÚÔ˜ ÙÔÓ ›‰ÈÔ ÙÔ˘ ÙÔÓ Â·˘Ùfi, ÚÔ˜ ÌÈ·
χڷ ÙÔ˘, Ô˘ ·ÎfiÌË ÎÈ ›‰ÈÔ˜ ‰ÂÓ ÁÓÒÚÈ˙Â
ÙËÓ ‡·ÚÍ‹ Ù˘. √ ·Ô‡˜, Ô˘ ÁÂÓÓ‹ıËÎÂ
ÛÙÔ πÚ¿Î Î·È ÁÓÒÚÈÛ ·Ó·Ú›ıÌËÙ˜ ÌÂÙ·ÎÈÓ‹ÛÂȘ, ›¯Â ·ÊÔÌȈı› ÙÂÏ›ˆ˜ ÛÙËÓ ÈÛÚ·ËÏ›ÙÈÎË
‰˘ÙÈ΋ ÎÔÛÌÈ΋ ÎÔÈÓˆÓ›·. «¢ÂÓ Â›Ó·È Ô ›‰ÈÔ˜ ¿ÓıÚˆÔ˜, ÚfiÎÂÈÙ·È ÁÈ· ÌÂÙÂÓÛ¿ÚΈÛË.» √ ·Ô‡˜ Â›Ó·È Ô ÓÂ˘Ì·ÙÈÎfi˜ ÌÔ˘ Ô‰ËÁfi˜. ∏ Ù·ÈÓ›·
·ÔηχÙÂÈ ÙÔ ıËÛ·˘Úfi, Ô˘ Â›Ó·È ÎÚ˘Ì̤ÓÔ˜ ̤۷ ÙÔ˘, Î·È Â·Ó·Û˘Ó‰¤ÂÈ ÙfiÛÔ ÙÔÓ ›‰ÈÔ
fiÛÔ Î·È ÙÔ ÎÔÈÓfi ÙÔ˘ Ì ÙËÓ ‰È·¯ÚÔÓÈ΋ ·ÓıÚÒÈÓË Ô˘Û›·, Ô˘ ›̷ÛÙ ÂÌ›˜ ÔÈ ›‰ÈÔÈ.
∆hree years ago, Grandfather and I departed
on a journey of revealing his forgotten self. A
journey of a man to his own self, to a part
which even he, is unaware of its existence.
Grandfather, who was born in Iraq and had
experienced countless transitions, was completely assimilated in Israeli western secular
society. "It is not the same man, it is a reincarnation." Grandfather is my spiritual guide. The
film reveals the hidden treasure within him
and reconnects both him and his audience to
the timeless human essence, which is us.
ECOFILMS
ƒ√¢√™
2006
RODOS
39
∆√ µπµ§π√ ∆ø¡ ƒ∂∫√ƒ ∆∏™ ™√À∆∫∞
KNJIGA REKORDA SHUTKE
THE SHUTKA BOOK OF RECORDS
™ÂÚ‚›·, ∆Û¯›·, ºÈÓÏ·Ó‰›·
Serbia, Czech Republic,
Finland, 2005
¢È¿ÚÎÂÈ· Running time: 78’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Taskovski Films Ltd.
WB Wentworth Street
E1 7TF London, UK
Tel: +44 (0) 207 247 0238
Fax: +44 (0)7957105672
Email: [email protected]
www.taskovskifilms.com
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ
’
Director, Script: Aleksandar Manic
^
∫¿ÌÂÚ· Camera: Dominik
Miskovsky
^
◊¯Ô˜ Sound: Juraj Za’k
ªÔÓÙ¿˙ Edit:
Aleksandar Manic’, Ivana Davidova’
ªÔ˘ÛÈ΋ Music: Varhan Bauer
™‡ÓÔ„ËSynopsis
ŸÏÔÈ ÔÈ Î¿ÙÔÈÎÔÈ Ù˘ ™Ô‡Ùη, Ù˘ ·ÁÎfiÛÌÈ·˜ ÚˆÙÂ‡Ô˘Û·˜ ÙˆÓ ƒfiÌ·, ÌÔÈÚ¿˙ÔÓÙ·È ÙÔ ›‰ÈÔ ¿ıÔ˜:
Ó· Â›Ó·È ÚˆÙ·ıÏËÙ¤˜. ∏ ™Ô‡Ùη Á‡ÂÙ·È ÙËÓ ÂÈÙ˘¯›· Ì ÙÔ Ó· ·Ú¯ÂÈÔıÂÙ› ‰›ÛÎÔ˘˜ Û ‰È·ÁˆÓÈÛÌÔ‡˜ ÙÚ·ÁÔ˘‰ÈÔ‡, Û ¯ËÓÔÌ·¯›Â˜, Û΢ÏÔÌ·¯›Â˜, fiˆ˜ Â›Û˘ ÛÙÔ Î˘Ó‹ÁÈ ‚ÚÈÎÔϿΈÓ, ÊÔÚÒÓÙ·˜
Ù· ÁÈÔÚÙÈÓ¿ Ù˘, Û˘ÏϤÁÔÓÙ·˜ ÙÔ‡ÚÎÈÎË ÌÔ˘ÛÈ΋ ‹ ÂÍÔÓÙÒÓÔÓÙ·˜ ηο Ó‡̷ٷ.
M¤Û· ·Ô ÈÛÙÔڛ˜ Ô˘ ÚÔ·ÙÔ˘Ó ·fi Û˘ÓÂÓÙ‡ÍÂȘ, ·˘Ù‹ Ë ¯ÈÔ˘ÌÔÚÈÛÙÈ΋ Ù·ÈÓ›· Ì·˜ ÌÂٷʤÚÂÈ Û ¤Ó·Ó ÎfiÛÌÔ Ô ÔÔ›Ô˜ ÁÂÓÈο ·Ú·Ì¤ÓÂÈ ÎÏÂÈÛÙfi˜ ÛÙÔ˘˜ ͤÓÔ˘˜. ∂ÓÒ ÙÔ ÌˆÛ·˚Îfi Ù˘ ™Ô‡Ùη
ÍÂÙ˘Ï›ÁÂÙ·È, ·Ó·ÚˆÙÈfiÌ·ÛÙÂ: Ô‡ ‚Ú›ÛÎÂÙ·È ÎÚ˘Ì̤ÓÔ ÙÔ Ì˘ÛÙÈÎfi Ù˘ Â˘Ù˘¯›·˜; ¢ÂÓ Â›Ó·È Ù· ·Ï¿
Ú¿ÁÌ·Ù· ÛÙË ˙ˆ‹ Ô˘ ÙËÓ Î¿ÓÔ˘Ó Ó· Â›Ó·È ÌÈ· ·Í¤¯·ÛÙË ÂÌÂÈÚ›·;
ª‹Ó „¿¯ÓÂÙ ÙËÓ ™Ô‡Ùη ÛÙÔÓ ¯¿ÚÙË. ∏ ™Ô‡Ùη Â›Ó·È „˘¯È΋ ‰È¿ıÂÛË.
The inhabitants of Shutka, the Romany capital of the world, all share one common passion: being a champion. Shutka thrives on achieving records in songfests, goose fights, dog fights, and
vampire hunts, in wearing Sunday best, collecting Turkish music or exterminating evil Genies.
Through a number of intertwining stories, this playful, humorous film takes us into a world that
is generally closed to outsiders. As the mosaic of Shutka unfolds, we are led to ask ourselves:
Where lays the secret of joy? Aren’t the smallest things in life often those that make life such an
unforgettable experience?
Don’t look for Shutka on a geographical map. Shutka is a state of mind.
40
ECOFILMS
ƒ√¢√™
2006
RODOS
Aleksandar Manic’
√ ∞ÏÂÍ¿ÓÙ·Ú Â›Ó·È Â‰Ò Î·È ‰Âη¤ÓÙ ¯ÚfiÓÈ· ÂÈÙ˘¯Ë̤ÓÔ˜ ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú Á˘Ú›˙ÔÓÙ·˜ Ù·Èӛ˜ ÙfiÛÔ ÁÈ·
ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ fiÛÔ ÁÈ· ÙËÓ ÙËÏÂfiÚ·ÛË. ∂›Ó·È ·fiÊÔÈÙÔ˜ Ì ‰È¿ÎÚÈÛË ·fi ÙËÓ ·Ó·ÁÓˆÚÈṲ̂ÓÔ˘ ·ÚÔ˘˜ ∫ÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ∞η‰ËÌ›· FAMU Ù˘ ¶Ú¿Á·˜.
Aleksandar has been a successful documentary film maker for fifteen years, and has made films for both
cinema and television. Aleksandar is a graduate (summa cum laude) of the prestigious FAMU Film Academy
in Prague.
Aleksandar Manic’
Severoza’radn› IV
360/21, 141 00 Prague 4
Czech Republic
Tel: +42 0777 849 138
∂mail: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 The Shutka Book of Records
2000 Doger - the Serbian Revolution
1999 The Orphans of Enver Hodsha
1998 The Walls of Kosovo - a province at
war
1997 Shooting Days - Emir Kusturica films
Underground
1992 Falling and Rising
1990 The Astropolitan
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
Rotterdam IFF
Norwegian Short Film Festival
La Rochelle
International Film Festival in Palic
Encounters' South African International
Documentary Festival
Yugoslav Feature Film Festival (Novi Sad)
INTL Zagreb documentary Film Festival
Leeds International Film Festival
Cottbus Film Festival
Ljubljana International Film Festival
Bratislava International Film Festival
Kerala International Film Festival
Alpe Adria Film Festival (Trieste)
Tromso International Film Festival
Tribeca, NY
√ Aleksandar Manic’
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Aleksandar Manic’ about his film
«∆Ô ‚È‚Ï›Ô ÙˆÓ ÚÂÎfiÚ Ù˘ ™Ô‡Ùη» ÛÎÈ·ÁÚ·Ê›
¤Ó· ı‡Ï·Î· ƒfiÌ·/∞ıÈÁÁ¿ÓˆÓ ÛÙ· ÓfiÙÈ· µ·ÏοÓÈ· Î·È ·ÔηχÙÂÈ ÙËÓ ÂÎÏËÎÙÈ΋ ˙ˆÓÙ¿ÓÈ· ÌÈ·˜ ÌÈÎÚ‹˜ ·ÏÏ¿ ÌÔÓ·‰È΋˜ fiÏ˘, ÁÓˆÛÙ‹ ÛÙÔ˘˜ ƒfiÌ· fiÏÔ˘ ÙÔ˘ ÎfiÛÌÔ˘ ˆ˜ ™Ô‡Ùη.
°ÂˆÁÚ·ÊÈο ÙÔÔıÂÙË̤ÓË ÎÔÓÙ¿ ÛÙ· ™ÎfiÈ·,
ÙËÓ ÚˆÙÂ‡Ô˘Û· Ù˘ ¶°¢ª, Ë ™Ô‡Ùη Â›Ó·È Ë ÂÈηÏÔ‡ÌÂÓË ·ÁÎfiÛÌÈ· ÚˆÙÂ‡Ô˘Û· ÙˆÓ ƒfiÌ·/∞ı›ÁÁ·ÓˆÓ. ªÔ˘ ·Ú¤ÛÂÈ Ó· ·ÔηÏÒ ·˘Ù‹
ÙËÓ Ù·ÈÓ›· ·ÓıÚˆÔÏÔÁÈÎfi ÓÙÔÎÈÌ·ÓÙ¤Ú ÎˆÌˆ‰›·, Ô˘ ·Û¯ÔÏÂ›Ù·È Ì ·ÓıÚÒÔ˘˜ Ô˘ Ï·¯Ù·ÚÔ‡Ó Ó· Â›Ó·È ÔÈ Î·Ï‡ÙÂÚÔÈ Û ·˘Ùfi Ô˘ οÓÔ˘Ó. ™Â ‰È¿ÊÔÚ· ¿ÚıÚ· ¤¯ÂÈ ÁÚ·ÊÙ›, fiÙÈ ·˘Ù‹
Ë Ù·ÈÓ›· Â›Ó·È Ë ÚÒÙË ÛÙÔ Â›‰Ô˜ Ù˘, Ô˘ ‰ÂÓ
‰Â›¯ÓÂÈ ÙÔ˘˜ ƒfiÌ· ˆ˜ ÂÚÈıˆÚȷ΋ ÂıÓÈ΋ ÌÂÈÔÓfiÙËÙ·, ·ÏÏ¿ ÙÔ˘˜ ·ÚÔ˘ÛÈ¿˙ÂÈ ÂÚÈÛÛfiÙÂÚÔ
Û·Ó «ÚˆÙ·ıÏËÙ¤˜ ÛÙË ˙ˆ‹» Î·È fi¯È Û·Ó ¯·Ì¤ÓÔ˘˜. ∏ ™Ô‡Ùη ÁÈ· ̤ӷ ·ÓÙÈÚÔÛˆ‡ÂÈ ÙË
ÓÔÔÙÚÔ›· ÔÏfiÎÏËÚˆÓ ÙˆÓ µ·ÏηӛˆÓ, ÙËÓ
ÙڤϷ Î·È ÙËÓ ·Ï·‚ÔÌ¿Ú· Ù˘ ÂÚÈÔ¯‹˜. ªÂ
·˘Ù‹ ÙËÓ Ù·ÈÓ›· ÚÔÛ¿ıËÛ· Ó· ·Ó··Ú·ÛÙ‹Ûˆ ÙÔ ¯·Ì¤ÓÔ ÎfiÛÌÔ Ù˘ ÚÒËÓ °ÈÔ˘ÁÎÔÛÏ·‚›·˜, fiˆ˜ ÙÔÓ Í¤Ú·Ì ÚÈÓ ÙÔ˘˜ ÌÂÁ¿ÏÔ˘˜ ÔϤÌÔ˘˜ –Û·Ó ¤Ó· ¯ÒÚÔ ÁÂÌ¿ÙÔ ·ÏËıÈÓ‹ ¯·Ú¿
ÁÈ· ˙ˆ‹, ÁÂÌ¿ÙÔ Á¤ÏÈÔ Î·È ¿ıÔ˜.
"The Shutka Book of Records" portrays a Roma/Gypsy enclave in the southern Balkans
and reveals the extraordinary vivacity of a small but unique town, known to every Roma
in the world as Shutka.
Located near Skopje, the capital of FYRoM,
Shutka is the alleged world capital of the Roma/Gypsies. I like to call this film an anthropological documentary comedy about people
who crave to be best at what they do. Various
press articles have stated that this film is the
first of its kind which does not portray Roma
as a marginalized ethnic, but rather shows
them as "champions of life," not as losers.
Shutka, for me, also represents the mentality
of the entire Balkans, its folly and craziness. In
this film I have, in a way, tried to re-erect the
lost world of the former Yugoslavia as we new
it before the great wars - as a space filled with
genuine joy of life, with laughter and passion.
ECOFILMS
ƒ√¢√™
2006
RODOS
41
¶∏°∏
ZDROJ / SOURCE
∆Û¯›· Czech Republic, 2005
¢È¿ÚÎÂÈ· Running Time: 75ã
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Irena Taskovski
Taskovski Films
4b Wentworth Street
London E1 7TF
Tel: +44 207 930 572866
Email: [email protected]
[email protected]
™ÎËÓÔı¤Ù˘, ªÔÓÙ¿˙, ◊¯Ô˜
^
Director, Edit, Sound:
Martin Marecek
^
∫¿ÌÂÚ· Camera: Jir› Màlek ^
™ÂÓ¿ÚÈÔ Script: Martin Marecek,
Martin Skalskãy
^
^
◊¯Ô˜ Sound: Ondrej Jezek
^
¶·Ú·ÁˆÁfi˜ Producer: Vratislav Slajer
™‡ÓÔ„ËSynopsis
∆Ô ª·ÎÔ‡ ÛÙÔ ∞˙ÂÚÌ·˚Ù˙¿Ó, ÂΛ Ô˘ ÛÙ‹ıËΠÁÈ· ÚÒÙË ÊÔÚ¿ ·ÁÎÔÛÌ›ˆ˜ Ë ÚÒÙË ÂÙÚÂÏ·ÈÔËÁ‹, Á›ÓÂÙ·È ¿ÏÈ ÛÙfi¯Ô˜ ÂӉȷʤÚÔÓÙÔ˜ ·fi ͤÓÔ˘˜ ÂÂÓ‰˘Ù¤˜. ∏ Ù·ÈÓ›· «¶ËÁ‹» ·ÎÔÏÔ˘ı› Ù·
›¯ÓË ÙÔ˘ ·ÁˆÁÔ‡ ÂÙÚÂÏ·›Ô˘ ·fi ÙÔ˘˜ ÚÔ·ÛÙÈ·ÎÔ‡˜ Ì·˜ ·˘ÙÔÎÈÓËÙfi‰ÚÔÌÔ˘˜ ̤¯ÚÈ ÙÔ ÛÔ˘Ú·ÏÈÛÙÈÎfi Î·È ·ÂÈÏËÙÈÎfi ÙÔ›Ô, ·fi ÙÔ ÔÔ›Ô ÂÍ·ÚÙ¿Ù·È Ô ÙÚfiÔ˜ ˙ˆ‹˜ Ì·˜, fiÔ˘ ·ÁÂÏ¿‰Â˜ ‚fiÛÎÔ˘Ó Û ÌÔÏ˘Ṳ̂ÓË ÁË Î·È ·È‰È¿ ·›˙Ô˘Ó Û ÙÔÍÈΤ˜ Ï¿Û˜. ªÂ ÙÔ ¤Ó· ٤ٷÚÙÔ ÙÔ˘ ÏËı˘ÛÌÔ‡
Ó· ˙ÂÈ Î¿Ùˆ ·fi ÙÔ fiÚÈÔ Ù˘ ÊÙÒ¯ÂÈ·˜, Ë ÌÂÙ·ÛÔ‚ÈÂÙÈ΋ ΢‚¤ÚÓËÛË Ù˘ ¯ÒÚ·˜ ˘fiÛ¯ÂÙ·È, fiÙÈ ÙÔ
ÂÙڤϷÈÔ ı· ÌÂÙ·‚¿ÏÂÈ ÙÔ ∞˙ÂÚÌ·˚Ù˙¿Ó Û ÌÈ· «Ú·ÁÌ·ÙÈ΋ ¯ÒÚ·», ¤Ó· ·ÎÌ¿˙ÔÓ Î·È ÂÊËÌÂÚ‡ÔÓ «¡¤Ô ∫Ô˘‚¤ÈÙ». ª· ÂÓÒ ÔÈ ÌÂÁ¿Ï˜ ÂÙ·Èڛ˜ ÂÙÚÂÏ·›Ô˘, Û·Ó ÙËÓ British Petroleum, Î·È Ë ‰ÈÂÊı·Ṳ́ÓË Î˘‚¤ÚÓËÛË ÁÂÌ›˙Ô˘Ó ÙȘ ÙÛ¤˜ ÙÔ˘˜, ÙÈ ÛËÌ·›ÓÂÈ ·˘Ùfi ÁÈ· ÙÔÓ ·Ïfi Ï·fi ÙÔ˘ ∞˙ÂÚÌ·˚Ù˙¿Ó; ª‹ˆ˜ ·˘Ùfi˜ Ô «Ì·‡ÚÔ˜ ¯Ú˘Ûfi˜» Â›Ó·È ÂÚÈÛÛfiÙÂÚÔ Î·Ù¿Ú· ·Ú¿ ¢ÏÔÁ›· ÁÈ’ ·˘Ù‹ ÙËÓ Ù·Ú·Á̤ÓË ¯ÒÚ·;
Baku in Azerbaijan, the site of the world’s first oil well, is once again becoming a focus for foreign investors eager to exploit the country’s vast oil riches. "Source" traces the pipeline from our
commuter highways back to this surreal and sinister landscape on which our way of life depends, where cows graze on polluted land and children play in toxic gunge. With three quarters
of the population living under the poverty line, the country’s post-Soviet government is promising oil will turn Azerbaijan into a "real country", a prosperous and flourishing "New Kuwait". But
between big oil companies like British Petroleum and the corrupt government lining their pockets, what does this mean for the ordinary people of Azerbaijan? Is this "liquid gold" more of a
curse than a blessing for this troubled country?
42
ECOFILMS
ƒ√¢√™
2006
RODOS
^
Martin Marecek
°ÂÓÓ‹ıËΠÛÙËÓ ¶Ú¿Á· ÙÔ 1974 Î·È ¤Î·Ó ÔÏÈÙÈÛÙÈΤ˜ ÛÔ˘‰¤˜ ÛÙÔ Charles University Î·È ÛÔ˘‰¤˜ ‰ËÌÈÔ˘ÚÁ›·˜ ÓÙÔÎÈÌ·ÓÙ¤Ú ÛÙËÓ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ·Î·‰ËÌ›· Ù˘ ¶Ú¿Á·˜ (FAMU), fiÔ˘ ÙÒÚ· ‰È‰¿ÛÎÂÈ Ô ›‰ÈÔ˜. ∞fi ÙÔ
1992 ¤¯ÂÈ Û˘ÌÌÂÙ¿Û¯ÂÈ Û ‰È¿ÊÔÚ· ÔÙÈÎÔ·ÎÔ˘ÛÙÈο ¤ÚÁ· ˆ˜ ÛÎËÓÔı¤Ù˘, οÌÂÚ·Ì·Ó, ËıÔÔÈfi˜ Î·È ÌÔ˘ÛÈÎfi˜.
Œ¯ÂÈ Ï¿‚ÂÈ Ì¤ÚÔ˜ Û ÔÏ˘¿ÚÈı̘ ÔÏÈÙÈÛÙÈΤ˜ ÎÔÈÓˆÓÈΤ˜ Î·È ÔÈÎÔÏÔÁÈΤ˜ ‰Ú·ÛÙËÚÈfiÙËÙ˜.
^
Martin Marecek (b. 1974, Prague) graduated in cultural studies from Charles University and documentary
filmmaking from Prague’s Film Academy (FAMU), where he now teaches. Since 1992 he has worked on varied audiovisual projects, serving as director, cameraman, actor and musician. He has participated in the organisation of a number of cultural-socio-ecological activities.
^
Martin Marecek
Rumunska’ 27
12000 Praha 2
Czech Republic
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2003 My home
2001 Dust Games
1999 Egg Methods
Famu Fwest
1998 Javor
^
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
One World 2005
Karlovy Vary IFF
Ekofilm (Czech rep.)
Doc. film festival Leipzig
Document 3
One world berlin
Leeds IFF
Film Festival Cottbus-Specials
Jihlava IDFF-Between the seas, Czech joy
TSTTT (Czech rep.)
IDFA-Green Screen
TRIESTE FILM FESTIVAL-Interanational
Documentary Competation
Human Rights Watch International Film
Festival London
VISION DU REEL
8th Amnesty International Filmfestival
Globale filmfestival
Green Film Festival
O Martin Marecek
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
^
Martin Marecek about his film
∆Ô ÂÙڤϷÈÔ ·ÔÙÂÏ› ÙÔÓ ·ÎÚÔÁˆÓÈ·›Ô Ï›ıÔ
ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ Ì·˜. √È ˙ˆ¤˜ Ì·˜ ηıÔÚ›˙ÔÓÙ·È
·fi ÙÔ ÂÙڤϷÈÔ – ÙÔ ÙÈ ÙÚÒÌÂ, ÙÈ ›ÓÔ˘ÌÂ, Ò˜
Ù·ÍÈ‰Â‡Ô˘ÌÂ. °È’ ·˘Ùfi Î·È Ë Ù·ÈÓ›· Ì·˜ ‹Á ӷ
‚ÚÂÈ ÙËÓ «¶ËÁ‹» ÛÙÔ ∞˙ÂÚÌ·˚Ù˙¿Ó, ÌÈ· ·fi ÙȘ
·Ú¯·ÈfiÙÂÚ˜ Î·È ÛËÌ·ÓÙÈÎfiÙÂÚ˜ ÂÚÈÔ¯¤˜ ¿ÓÙÏËÛ˘ ÂÙÚÂÏ·›Ô˘. ªÂÙ¿ ÙËÓ ÙÒÛË Ù˘ ™Ô‚ÈÂÙÈ΋˜ ŒÓˆÛ˘, Ë ÂÚÈÔ¯‹ ¤ÁÈÓ ÂÏ΢ÛÙÈ΋ ÛÂ
ÂÙ·Èڛ˜ ·fi ÙË ¢‡ÛË. ¶ÚfiÛÊ·Ù· Ù¤ıËΠ۠ÏÂÈÙÔ˘ÚÁ›· ¤Ó·˜ ÙÂÚ¿ÛÙÈÔ˜ ÂÙÚÂÏ·È·ÁˆÁfi˜, ÌÂ
ÛÎÔfi Ó· ÌÂٷʤÚÂÈ ·˘ÙfiÓ ÙÔ ÛÙÚ·ÙËÁÈο ÔχÙÈÌÔ Ê˘ÛÈÎfi fiÚÔ ÛÙË ‰ÈÂıÓ‹ ·ÁÔÚ¿.
¶Ò˜ Â›Ó·È Ó· ˙ÂȘ ÎÔÓÙ¿ ÛÙËÓ ÂÙÚÂÏ·ÈÔÊfiÚ·
ÂÚÈÔ¯‹ Ô˘ ÂÊԉȿ˙ÂÈ ÙËÓ ÔÈÎÔÓÔÌ›· Ì·˜;
ªÔÚÔ‡Ó Ù· ÂÙÚÂÏ·˚ο Û˘Ì‚fiÏ·È· Î·È Ô ÁÈÁ·ÓÙÈ·›Ô˜ ÂÙÚÂÏ·È·ÁˆÁfi˜ Ó· Ï˘ÙÚÒÛÔ˘Ó ÌÈ· ·fi ÙȘ ÈÔ ‰ÈÂÊı·Ṳ́Ó˜ ¯ÒÚ˜;
∏ Ù·ÈÓ›· «¶ËÁ‹» Ù·Íȉ‡ÂÈ ·fi ÙË ÌÈ· ÂÙÚÂÏ·ÈÔÎËÏ›‰· ÛÙËÓ ¿ÏÏË „¿¯ÓÔÓÙ·˜ ÁÈ· ÙËÓ ÚԤϢÛË ÙÔ˘ ÚÔ‚Ï‹Ì·ÙÔ˜, οÓÔÓÙ·˜ ‚Ô˘ÙÈ¿ ÛÂ
ÙÚ·ÁÈÎÔΈÌÈΤ˜ ηٷÛÙ¿ÛÂȘ, ÌÂÏÂÙÒÓÙ·˜ ÙȘ
ÌÔÚʤ˜ Ù˘ ‰È·ÊıÔÚ¿˜, ÂÓÙÔ›˙ÔÓÙ·˜ ÙȘ ·ÏÏ·Á¤˜ ÙˆÓ ÈÛ¯˘ÚÒÓ, ÍÂÛÎÂ¿˙ÔÓÙ·˜ Ù· ÛÙÚÒÌ·Ù·
Ù˘ ·ÁÎÔÛÌÈÔÔ›ËÛ˘, ηٷı¤ÙÔÓÙ·˜ ÚÔÛˆÈÎÔ‡˜ ·ÁÒÓ˜ Î·È ÂÚ¢ÓÒÓÙ·˜ ÔÈ· Â›Ó·È Ë
Ú·ÁÌ·ÙÈ΋ ÙÈÌ‹ ÙÔ˘ ª·‡ÚÔ˘ ÃÚ˘ÛÔ‡.
Oil is a cornerstone of this civilization. Our
lives are determined by oil – what we eat,
what we drink, how we travel. That’s why our
film went to search for the "Source" to Azerbaijan, one of the oldest most significant oil
regions. After the collapse of the Soviet Union,
this area became attractive for Western corporations. Recently, a monstrous oil pipe-line
has been put into work, with the intention of
bringing this strategic precious resource to
the international markets.
What is it like to live in the neighborhood of
the oil fields that feed our economy? Can the
oil contracts and the giant pipe-line redeem
one of the world’s most corrupted countries?
The film probe "Source" travels from one oil splotch to another, searching for the origin of
the problems, diving into tragicomic situations, studying the forms of corruption, tracking the shifts of power, revealing layers of
globalization, giving testimony to personal
struggles and examining the real price of
Black Gold.
ECOFILMS
ƒ√¢√™
2006
RODOS
43
¶∂ƒ∞ ∞¶√ ∫∞£∂ §√°π∫∏
SURREAL
∫·Ó·‰¿˜ Canada
¢È¿ÚÎÂÈ· Running time: 93’
™ÎËÓÔı¤Ù˘, ªÔÓÙ¿˙, ¶·Ú·ÁˆÁfi˜
Director, Edit, Producer:
Erez T Yanuv Barzilay
™˘Ì·Ú·ÁˆÁfi˜ Co-Producer:
Dror Marcus
ªÔ˘ÛÈ΋ Music: Ben Euerby
™‡ÓÔ„ËSynopsis
¢‡Ô ·ÏÈÔ› πÛÚ·ËÏÈÓÔ› Ê›ÏÔÈ, Ô ¤Ó·˜ ˙ÂÈ ÛÙÔÓ ∫·Ó·‰¿, Ô ¿ÏÏÔ˜ ÛÙËÓ ∫·ÌfiÙ˙Ë, Û ÌÈ· ·Ô¯·ÈÚÂÙÈÛÙ‹ÚÈ· Â›ÛÎÂ„Ë ÛÙËÓ Î·Ù¯fiÌÂÓË ·fi πÛÚ·ËÏÈÓÔ‡˜ §ˆÚ›‰· Ù˘ °¿˙·˜. ∞ÔÙ¤ÏÂÛÌ·, ÌÈ· ·ÓÔÚ·ÌÈ΋ ÂÚÈ‹ÁËÛË Û 20 ÈÛÚ·ËÏÈÓÔ‡˜ ηٷ˘ÏÈÛÌÔ‡˜ ÛÙË §ˆÚ›‰· Ù˘ °¿˙·˜ ¤Ó· Ì‹Ó· ÚÈÓ ÙËÓ ·Ó·fiÊ¢ÎÙË Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘˜. ∆Ô Â˘Ú›·˜ ÔıfiÓ˘ ·ÓÔÚ·ÌÈÎfi „ËÊÈ·Îfi ‚›ÓÙÂÔ ÙÔ˘ Erez Yanuv ÛÂ
Û˘Ó‰˘·ÛÌfi Ì ÂηÙÔÓÙ¿‰Â˜ „ËÊȷο ʈÙÔÁÚ·ÊÈο ÎÔÓÙÈÓ¿ ÙÔ˘ Dror Marcus ·ÔηχÙÔ˘Ó Ì›·
·fiÏ˘Ù· ÛÔ˘Ú·ÏÈÛÙÈ΋ ÂÌÂÈÚ›·: ÌÂÚÈÎÒ˜ ÂÁηٷÏÂÏÂÈÌ̤ӷ ¯ˆÚÈ¿, ·ÎÌ¿˙ÔÓÙ· ·ÁÚÔÙÈο ¤ÚÁ·
Î·È ¤Ó· ÌÔÓ·‰ÈÎfi Û˘ÓÔı‡ÏÂ˘Ì· ηÙԛΈÓ. √È ÂÚÈÛÛfiÙÂÚÔÈ ¿ÓıÚˆÔÈ Ô˘ Û˘Ó·ÓÙÔ‡Ó ·ÚÓÔ‡ÓÙ·È ÙËÓ ÂÈΛÌÂÓË ÌÔ›Ú· ÙÔ˘˜. ∂›Ó·È ÂÚÈÙÚÈÁ˘ÚÈṲ̂ÓÔÈ ·fi ÙÛÈÌÂÓÙ¤ÓÈ· Ô‰ÔÊÚ¿ÁÌ·Ù· Î·È ËÏÂÎÙÚÔÓÈÎÔ‡˜ ÊÚ¿ÎÙ˜, Ì ÙȘ ‚·ÚÈ¿ ÂÍÔÏÈṲ̂Ó˜ ‰˘Ó¿ÌÂȘ Ó· ÚÔÛÙ·ÙÂ‡Ô˘Ó ÙË Êı›ÓÔ˘Û· ÈÛÚ·ËÏÈÓ‹ ·ÚÔ˘Û›· ·fi ÙÔ˘˜ ¶·Ï·ÈÛÙ›ÓÈÔ˘˜ Ô˘ ˙ËÙÔ‡Ó ÙËÓ ·ÓÂÍ·ÚÙËÛ›· ÙÔ˘˜.
Two former Israeli friends, one lives in Canada, the other in Cambodia, on a farewell visit to the
Israeli occupied Gaza Strip. The result, a panoramic drive through 20 Israeli settlements dotting
the Gaza Strip, one month prior to their inevitable destruction. Combined with hundreds of
close up digital images (taken by Dror Marcus), the wide screen panoramic digital video footage
(taken by Erez Yanuv Barzilay) reveals an absolutely surreal experience: partially abandoned villages, flourishing agriculture projects and a unique mixture of inhabitants. Most people they encounter are trying to deny their imminent fate. They are surrounded by concrete barricades and
electronic fences, with massive armed forces buffering the diminishing Israeli presence from the
independence seeking Palestinians.
44
ECOFILMS
ƒ√¢√™
2006
RODOS
Erez T Yanuv Barzilay
√ Erez T Yanuv Barzilay Â›Ó·È ·Ú·ÁˆÁfi˜ Î·È ÛÎËÓÔı¤Ù˘ ÂηÙÔÓÙ¿‰ˆÓ ÙËÏÂÔÙÈÎÒÓ ÚÂÔÚÙ¿˙, ÂȉÈÎÒÓ ·ÊÈÂÚˆÌ¿ÙˆÓ Î·È ·ÚÎÂÙÒÓ ·ÓÂÍ¿ÚÙËÙˆÓ ÓÙÔÎÈÌ·ÓÙ¤Ú ÁÈ· ÙËÓ ÂıÓÈ΋ Î·È ‰ÈÂıÓ‹ ÙËÏÂfiÚ·ÛË.
Erez T Yanuv Barzilay has directed and produced hundreds of television reports, feature presentations and
half a dozen independent feature documentaries for national and international television.
Erez T Yanuv Barzilay
1737 Banbury Rd
N Vancourver
BC Canada V7G 1W3
Fax: +1 6047327711
ºÈÏÌÔÁÚ·Ê›· Filmography
2004 A Cry for Madiom - ongoing
Genocide in the Sudan
2002 Four Days in May
1997 tears in the green
1995 Jordan 1/95
1992 Earthquake in the Himalayas
√ Erez T Yanuv Barzilay
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Erez T Yanuv Barzilay
about his film
∏ Ù·ÈÓ›· «¶¤Ú· ·fi οı ÏÔÁÈ΋» Â›Ó·È ¤Ó· ÚÔÛˆÈÎfi Ù·Í›‰È Ô˘ η٤ÏËÍ ӷ Á›ÓÂÈ ÙÂÎÌ‹ÚÈÔ ·Ú·ÏÔÁÈÛÌÔ‡. √ ›‰ÈÔ˜ ·Ú·ÏÔÁÈÛÌfi˜ Ô˘ ÌÔÚ› ÙÒÚ· Ó· ÓÔÂ›Ù·È ˆ˜ ÌÔÓ·‰ÈÎfi˜ Ê¿ÚÔ˜ ÂÏ›‰·˜ ÁÈ· ÙËÓ ÂÈÚËÓÈ΋ Â›Ï˘ÛË Û˘ÁÎÚÔ‡ÛˆÓ. ∂Í·ÎÔÏÔ˘ıÒ Ó· ÌËÓ Î·Ù·Ï·‚·›Óˆ Ò˜, ·ÎfiÌ· Î·È Ì fiÛ· ıˆÚÔ‡Û·Ì fiÙÈ ÁÓˆÚ›˙·ÌÂ, Ì·˜ ÂͤÏËÍ ÙfiÛÔ Ë Ú·ÁÌ·ÙÈÎfiÙËÙ·.
ªÔ˘ ÁÂÓÓ‹ıËÎ·Ó ÔÏÏ¿ ÂÚˆÙ‹Ì·Ù· Û ۯ¤ÛË Ì ÙËÓ
ÂÈÚ‹ÓË, ÙËÓ ÂÏ›‰·, ÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ·, ÙÔ ÚfiÏÔ ÙˆÓ
ªª∂, ÙÔ Ì¤ÏÏÔÓ ÙÔ˘ πÛÚ·‹Ï, ÙÔ Ì¤ÏÏÔÓ ÙˆÓ ¶·Ï·ÈÛÙÈÓ›ˆÓ.
∂‡¯ÔÌ·È ·˘ÙÔ› Ô˘ ı· ÌÔÈÚ·ÛÙÔ‡Ó ÙËÓ ÂÌÂÈÚ›· ÙÔ˘
Dror Î·È ÙË ‰È΋ ÌÔ˘ Ó· ·Ó·Î·Ï‡„Ô˘Ó Î¿ÙÈ Î·ÈÓÔ‡ÚÈÔ
ÁÈ· ÙÔÓ Â·˘Ùfi ÙÔ˘˜, Ì·ı·›ÓÔÓÙ·˜ ÙfiÛ·, fiÛ· ¤Ì·ı· ÂÁÒ Á˘Ú›˙ÔÓÙ·˜ ÙËÓ Ù·ÈÓ›·.
"Surreal" is a personal journey turned into a testimony to absurdity. The same absurdity that can now
be conceived as a unique beacon of hope for peaceful conflict resolution. It is still a mystery to me that
after all we thought we knew about it, the reality
was so surprising.
It raised big questions in my mind: about peace,
hope, reality, the role of the media, the future of Israel, the future for the Palestinians.
I just wish that the people who will share the experience with Dror and myself, will also revile something new for themselves, learning as much as I did
in the process of making "Surreal".
ECOFILMS
ƒ√¢√™
2006
RODOS
45
¢È·ÁˆÓÈÛÙÈÎfi
Competition
∆∞π¡π∂™ ª∂™∞π√À ª∏∫√À™ MEDIUM-LENGTH FILMS
48
50
52
54
56
58
60
62
64
66
¶√§∏ ∆ø¡ √¡∂πƒø¡
CITY OF DREAMS
∫√À§∆√Àƒ∞ ∫∞π ∆√¶π√
KULTUR+LANDSKAP= SANT / CULTURAL LANDSCAPE
ªπ∞ ∂•√ƒπ™∆∏ √π∫√°∂¡∂π∞
EXILE FAMILY MOVIE
Ã∞ª∞™: ¶π™ø ∞¶√ ∆∏ ª∞™∫∞
HAMAS: BEHIND THE MASK
•∂¡√¢√Ã∂π√ ∆ø¡√¡∂πƒø¡
DROMMENES HOTEL / HOTEL OF DREAMS
∆∑∂´ª™, ∞¶√ ∆√ ¡√™√∫√ª∂π√
™∆∏ ƒ∂∞§ ª∞¢ƒπ∆∏™
JAMES, FROM CANCER TO REAL MADRID
ª∞£∞π¡√¡∆∞™ ∆√ ¶∞πáπ¢π ∆∏™ ∑ø∏™
APRENDIENDO EL JUEGO DE LA VIDA
LEARNING THE GAME OF LIFE
™∞¡ ¶∞ƒ∞ªÀ£π…. ∆√ ¶∞¶π°∫√ ∂π¡∞𠶃√√ƒπ™ª√™
LIKE A FAIRYTALE: PAPINGO IS A DESTINATION
§√¶√À∫Ã√µ√
LOPUKHOVO
∏ ª∏∆∂ƒ∞ ª√À ™∫√∆ø£∏∫∂
∞¶√ ∂¡∞¡ ∞¡£ƒø¶√ µ√ªµ∞
MIN MAMMA MÖRDADES AV EN SJÄLVMORDSBOMBARE
MY MOTHER WAS KILLED BY A SUICIDE BOMBER
68
70
72
74
76
78
ƒ∞¢π√º√µπ∞
RADIOPHOBIA
RAIN FOREST: ™¶√ƒ√π ∆∏™ ∑√À°∫§∞™
RAIN FOREST: SEMILLAS DE SELVA
RAIN FOREST: JUNGLE SEEDS
™∞∆π§∞
ROND-POINT CHATILA / ROUNDABOUT CHATILA
∏ ∫√πªøª∂¡∏ ¡∏™√™
LA ISLA DURMIENTE / THE SLEEPING ISLAND
ªπ∫ƒ√¶π™∆ø™∏
SMALL CHANGE, BIG BUSINESS
√ ™√™π∞§π™∆∏™, √ ∞ƒÃπ∆∂∫∆√¡∞™
∫∞π √ ∂§π∫√∂π¢∏™ ¶Àƒ°√™
SOSSEN, ARKITEKTEN OCH DET SKRUVADE HUSET
THE SOCIALIST THE ARCHITECT AND THE TWISTED TOWER
80
√ ¶√§∂ª√™ ∆ø¡ ∞∫ƒπ¢ø¡
LA GUERRE DES CRIQUETS / THE WAR OF THE LOCUSTS
¶√§∏ ∆ø¡ √¡∂πƒø¡
CITY OF DREAMS
∏¶∞ USA, 2005
¢È¿ÚÎÂÈ· Running time: 52’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Cinema Guild
130 Madison Avenue
New York, NY
10016-7038, USA
Tel: +1 212 6856242
Fax: +1 2126854717
Email: [email protected]
™ÎËÓÔı¤Ù˘, EÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜,
¶·Ú·ÁˆÁfi˜
Director, Executive Producer, Producer:
Ruby Ofori, Edward Scott
™ÂÓ¿ÚÈÔ, ŒÚ¢ӷ Script, Research:
Ruby Ofori
∫¿ÌÂÚ·, ªÔÓÙ¿˙ Camera, Edit:
Edward Scott
°Ú·ÊÈο Graphics:
Atlantic Video Washington D.C.
∞Ê‹ÁËÛË Narration:
Naigzy Gebremedhin
48
™‡ÓÔ„ËSynopsis
∏ «¶fiÏË ÙˆÓ √Ó›ڈӻ Â›Ó·È 52 ÏÂÙ¿ Ì·Á›·˜. ª¤Û· ·fi Ù· Ì¿ÙÈ· Î·È ÙȘ „˘¯¤˜ ÙˆÓ ÎÙÈÚ›ˆÓ ·Ô‰›‰ÂÙ·È Ì¤Ûˆ Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ Ë ˙ˆÓÙ·Ó‹ ÈÛÙÔÚ›· Ù˘ fiÏ˘ ∞ÛÌ¿Ú·. ∆· ÎÙ›ÚÈ· Á›ÓÔÓÙ·È ·ÊËÁËÙ¤˜Ø ÌÂÙ·ÌÔÚÊÒÓÔÓÙ·È Û ·Á·ÏÌ¿ÙÈÓ˜, ·Î›ÓËÙ˜ Ì·ÚÙ˘Ú›Â˜ ·ÔÈÎÈ·ÎÒÓ ÈÛÙÔÚÈÒÓ. ªÈ· ÔÓÂÈÚÈ΋
ÌÔ˘ÛÈ΋ ˘fiÎÚÔ˘ÛË Û˘Óԉ‡ÂÈ ·˘ÙÔ‡˜ ÙÔ˘˜ ıËÛ·˘ÚÔ‡˜ Ô˘ ·ÔηχÙÔ˘Ó ÙÔ˘˜ fiÓÔ˘˜ Î·È Ù·
¿ıË ÙˆÓ ÚÔËÁÔ‡ÌÂÓˆÓ Î·ÙÔ›ÎˆÓ ·˘Ù‹˜ Ù˘ ÔχÙÈÌ˘ Á˘. ¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ηÈÓÔ‡ÚÁÈÔ Â›‰Ô˜
ÓÙÔÎÈÌ·ÓÙ¤Ú. ∂‰Ò, Ù· ·È‰È¿ Ù˘ ‰È·ÛÔÚ¿˜ Ô˘ ¤ÁÈÓ·Ó ‰ËÌÈÔ˘ÚÁÔ› Ù·ÈÓÈÒÓ, Ë Ruby Ofori Î·È Ô
Edward Scott, ÂÓÒÓÔ˘Ó ÙËÓ Ù¯ÓÔÁÓˆÛ›· ÙÔ˘ ÎfiÛÌÔ˘ ÙÔ˘˜ Ì ÙËÓ ÓÂ˘Ì·ÙÈ΋ ÁÓÒÛË Ù˘ ·Ú¯·›·˜
·ÙÚ›‰·˜ ÙÔ˘˜ Î·È ‰ËÌÈÔ˘ÚÁÔ‡Ó Ó¤Â˜ ÚÔÔÙÈΤ˜, ÍÂÎÏÂȉÒÓÔ˘Ó ÛËÌ·ÓÙÈΤ˜ Ì· ·Ó›ˆÙ˜ ÈÛÙÔڛ˜ ÙˆÓ fiÏÂˆÓ Ù˘ ∞ÊÚÈ΋˜, ·Ú¯›˙ÔÓÙ·˜ ·fi ÙËÓ ∞ÛÌ¿Ú·.
"City of Dreams" is 52 minutes of magic. Through the eyes and souls of buildings, a living history
is conveyed via the architecture of the city of Asmara. Buildings become storytellers; they are
transformed into statuesque, motionless testimonies of colonialist histories. A haunting musical
score accompanies these treasures that reveal the pain and passion of previous occupiers of
this precious land. This is a fresh genre of documentary making. Here, the children of the Diaspora turned film-makers – Ruby Ofori and Edward Scott - fuse the technical know-how of their
world with the spiritual knowledge of their ancestral home and create fresh perspectives and
unlock crucial but untold tales of the cities of Africa, beginning with Asmara.
ECOFILMS
ƒ√¢√™
2006
RODOS
Ruby Ofori
™˘Ó-ȉڇÙÚÈ· Ù˘ ÂÙ·ÈÚ›·˜ Eye Level LLC. ¢ËÌÔÛÈÔÁÚ¿ÊÔ˜ ·fi ÙËÓ °Î¿Ó· Ì ÛÔ˘‰¤˜ ÛÙË µÚÂÙ·Ó›· ÛÙÔ
University of East Anglia. Œ¯ÂÈ ÌÈ· ÂÎÙÂÓ‹ ηÚȤڷ ˆ˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ ‰ÈÂıÓÒÓ ıÂÌ¿ÙˆÓ ÁÈ· ÂÚÈÛÛfiÙÂÚ· ·fi
‰Âη٤ÛÛÂÚ· ¯ÚfiÓÈ·. ø˜ Û˘Ó-ÛÎËÓÔı¤Ù˘ Î·È ·Ú·ÁˆÁfi˜ ÓÙÔÎÈÌ·ÓÙ¤Ú Ù˘ ÂÙ·ÈÚ›·˜ Eye Level ÚÔÛʤÚÂÈ ÙËÓ ·ÍÈfiÏÔÁË ÈηÓfiÙËÙ¿ Ù˘ ÛÙË Û˘ÁÁÚ·Ê‹ Î·È ÙËÓ ¤Ú¢ӷ. ∞˘Ù‹ ÙË ÛÙÈÁÌ‹ ·Û¯ÔÏÂ›Ù·È Ì ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú "Journey
Along the Slave Route" Ô˘ Ú·ÁÌ·Ù‡ÂÙ·È ÙËÓ ÎÏËÚÔÓÔÌÈ¿ ÙÔ˘ ˘ÂÚ·ÙÏ·ÓÙÈÎÔ‡ ‰Ô˘ÏÂÌÔÚ›Ô˘ ∞ÊÚÈηÓÒÓ
ÛÙËÓ ‹ÂÈÚÔ Î·È ÙË ‰È·ÛÔÚ¿.
Ruby Ofori is co-founder of Eye Level LLC. She is a Ghanaian journalist trained in Britain at the University of
East Anglia. Ms Ofori has had a rich career working as a journalist on international affairs for over fourteen
years. As co-director and producer of documentaries made by Eye Level she brings her considerable writing
and research skills to bear. Ms. Ofori is presently working on "Journey Along the Slave Route" a documentary" about the legacy of the transatlantic slave trade for Africans on the continent and in the Diaspora.
Ruby Ofori:
∂mail: [email protected]
∂mail: [email protected]
www.eyelevelproductions.com
Edward Scott:
∂mail: [email protected]
Edward Scott
O Edward Scott Â›Ó·È ¤Ó·˜ ÛÎËÓÔı¤Ù˘ ·ıÈ·Ṳ̂ÓÔ˜ Ì ÙËÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋. ∂ÌÓ‡ÛÙËΠÙËÓ Ù·ÈÓ›· «¶fiÏË ÙˆÓ
√Ó›ڈӻ ÂÓÒ ÂÚÁ·˙fiÙ·Ó ÛÙËÓ ∂Ú˘ıÚ·›· ÁÈ· ÙÔÓ √∏∂ ˆ˜ ·Ú·ÁˆÁfi˜ ‚›ÓÙÂÔ. ∆Ô ÙÂÏÂ˘Ù·›Ô ÙÔ˘ Û¯¤‰ÈÔ Â›Ó·È ÙÔ
ÓÙÔÎÈÌ·ÓÙ¤Ú "Journey Along the Slave Route", Ô˘ Ú·ÁÌ·Ù‡ÂÙ·È ÙËÓ ÎÏËÚÔÓÔÌÈ¿ ÙÔ˘ ˘ÂÚ·ÙÏ·ÓÙÈÎÔ‡ ‰Ô˘ÏÂÌÔÚ›Ô˘ ÛÙËÓ °Î¿Ó·. Œ¯ÂÈ Û˘ÓÂÈÛʤÚÂÈ Ì ÙÔ Ù·Ï¤ÓÙÔ ÙÔ˘ Û ‰È¿ÊÔÚ˜ ÔÙÈÎÔ·ÎÔ˘ÛÙÈΤ˜ ·Ú·ÁˆÁ¤˜. ¶¤Ú·Ó ÙȘ
ÂÌÂÈÚ›·˜ ÙÔ˘ ˆ˜ ÛÎËÓÔı¤Ù˘, ˘‹ÚÍ ‚ÔËıfi˜ ηıËÁËÙ‹ ÛÙËÓ ·Ú·ÁˆÁ‹ ‚›ÓÙÂÔ ·fi ÙÔ 1996 ˆ˜ ÙÔ 2000 ÛÙÔ
School of Communication ÙÔ˘ American University, ÂÓÒ ÚˆÙ‡ÙÂÚ· ‰›‰·ÛΠ·Ú·ÁˆÁ‹ ‚›ÓÙÂÔ ÛÙÔ
Communication Department ÙÔ˘ Antioch College ·fi ÙÔ 1993 ˆ˜ ÙÔ 1995.
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 The Presentation (shortfilm)
2003 My Grandpa is a Tourist Guide
(shortfilm)
2003 I Went to the River Market (shortfilm)
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 The Austrialian International
Documentary Conference (DoCumart
Videotheque), Melbourne, Australia.
2005 IDFA Docs for Sale, Amsterdam,
The Netherlands
Rosebud Film Festival
Ed Scott is a filmmaker with a passionate interest in architecture. The idea for "City of Dreams" came to Mr. Scott while working in Eritrea for the United Nations as a video producer. Mr. Scott's latest project is "Journey
Along the Slave Route", which is about the legacy of the transatlantic slave trade in Ghana. Mr. Scott has also
contributed his talents to several filmed-media productions. In addition to his filmmaking experience, Mr. Scott served as an assistant professor of video production in the School of Communication at American University from 1996 through 2000, and prior to that he lectured in video production in the Communication Department at Antioch College from 1993 through 1995.
√È Ruby Ofori Î·È Edward Scott
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘˜
Ruby Ofori and Edward Scott
about their film
™ÙËÓ «¶fiÏË ÙˆÓ √Ó›ڈӻ Ô ·Ú¯ÈÙ¤ÎÙÔÓ·˜
Naigzy Gebremedhin Ô‰ËÁ› ÙÔ ÎÔÈÓfi Û ÌÈ· ÈÛÙÔÚÈ΋ Î·È ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÍÂÓ¿ÁËÛË Ù˘ ·Á·Ë̤Ó˘ ÙÔ˘ fiÏ˘ ∞ÛÌ¿Ú·. §fiÁˆ ÙÔ˘ ÔÚ¿Ì·ÙÔ˜ ÙÔ˘ ªÔ˘ÛÔÏ›ÓÈ Ó· ·Ó·‰ËÌÈÔ˘ÚÁ‹ÛÂÈ ÙË
ƒˆÌ·˚΋ ∞˘ÙÔÎÚ·ÙÔÚ›· ÛÙËÓ ∞ÊÚÈ΋, Ë ∞ÛÌ¿Ú· ÊÈÏÔÍÂÓ› 400 ÂÚ›Ô˘ ÎÙ›ÚÈ· ÛËÌ·ÓÙÈ΋˜
·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ·Í›·˜ Ô˘ ۯ‰ȿÛÙËÎ·Ó ·fi
πÙ·ÏÔ‡˜ ·Ú¯ÈÙ¤ÎÙÔÓ˜ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1930. ∏
∞ÛÌ¿Ú· ›Ûˆ˜ ηٷϋÍÂÈ ı‡Ì· ÙˆÓ ÊıÔÚÔÔÈÒÓ Û˘ÓÂÂÈÒÓ Ù˘ ÊÙÒ¯ÂÈ·˜ Î·È ÙÔ˘ ¯ÚfiÓÔ˘. ∏
Ù·ÈÓ›· ÂÍÂÚÂ˘Ó¿ ÙËÓ ·ÌÊÈÛËÌ›· Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ÎÏËÚÔÓÔÌÈ¿˜ Ù˘ fiÏ˘, Ë ÔÔ›· ·Ó ηÈ
ÂÎÙÈÌ¿Ù·È ·fi ÙÔ˘˜ ∞ÊÚÈηÓÔ‡˜ ηÙÔ›ÎÔ˘˜ Ù˘,
ÎÚ‡‚ÂÈ ÈÎÚ¤˜ ÌӋ̘ Ê˘ÏÂÙÈÎÔ‡ Ú·ÙÛÈÛÌÔ‡.
In "City of Dreams" architect Naigzy Gebremedhin takes the audience on a historical
and architectural tour of his beloved city Asmara. Inspired by Mussolini's dream of recreating the Roman Empire in Africa, Asmara is
the site of some 400 or so architecturally significant buildings which were designed by Italian architects of the 1930s. Asmara may
now become a victim of the decaying effects
of poverty and time. "City of Dreams" explores
the ambiguities of the city's architectural legacy which, though treasured by her African inhabitants, also hold bitter memories of racial
segregation.
ECOFILMS
ƒ√¢√™
2006
RODOS
49
∫√À§∆√Àƒ∞ ∫∞π ∆√¶π√
KULTUR+LANDSKAP= SANT / CULTURAL LANDSCAPE
¡ÔÚ‚ËÁ›· Norway, 2004
¢È¿ÚÎÂÈ· Running time: 46’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Aminda Produksjoner AS
P.O. Box 87
NO-1321 Stabekk
Norway
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ,
ºˆÙÔÁÚ·Ê›·, ◊¯Ô˜, ¶·Ú·ÁˆÁfi˜
Director, Script, DOP, Sound, Producer:
Evald Otterstad
ªÔÓÙ¿˙ Edit:
Evald Otterstad, Ingeranna Krohn Nydal
™‡ÓÔ„ËSynopsis
∏ ·ÏÏËÏÂ›‰Ú·ÛË ÌÂٷ͇ ·ÓıÚÒÔ˘ Î·È Ê‡Û˘ ·Ú·‰ÔÛȷο ‰ËÌÈÔ˘ÚÁÔ‡Û·Ó ÙÔ ÙÔ›Ô Î·È ÙËÓ
ÎÔ˘ÏÙÔ‡Ú· ÛÙËÓ ‡·ÈıÚÔ. ∆ÒÚ· ϤÔÓ Ô˘ Ë ÁˆÚÁ›· ¤¯ÂÈ ‚ÈÔÌ˯·ÓÔÔÈËı›, Û fiÏÔ ÙÔÓ ÎfiÛÌÔ
Û˘Ì‚·›ÓÔ˘Ó Ù· ›‰È·. ª·˜ ·ÊÔÚ¿ Ô˘ Î·È ÙÔ ÙÔ›Ô Î·È Ë ÈÛÙÔÚ›· ¯¿ÓÔÓÙ·È; ŒÓ· ÔÈËÙÈÎfi ÓÙÔÎÈÌ·ÓÙ¤Ú Ô˘ ÚÔηÏ› ÙË ÛΤ„Ë.
Traditionally the interaction between man and nature have formed the landscape and the
culture at the countryside. Now the farming is industrialized, the same thing happens all over
the world. Does it matter to us that both the landscape and the history disappear? A poetic and
thought-provoking documentary.
50
ECOFILMS
ƒ√¢√™
2006
RODOS
Evald Otterstad
√ Evald Otterstad ¤¯ÂÈ ÌÂÁ¿ÏË ÂÌÂÈÚ›· ˆ˜ ÛÎËÓÔı¤Ù˘. Œ¯ÂÈ Î¿ÓÂÈ ÓÙÔÎÈÌ·ÓÙ¤Ú Î·ıÒ˜ Î·È Ù·Èӛ˜ ÌÈÎÚÔ‡ Î·È ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜. √È Ù·Èӛ˜ ÙÔ˘ "The Track Meet" Î·È "But the Weekends are ours" ¤¯Ô˘Ó Ï¿‚ÂÈ Â·›ÓÔ˘˜ ÛÙÔ
nOrwegian Short Film Festival ÛÙÔ °ÎÚÈÌÛÙ·ÓÙ. ∏ Ù·ÈÓ›· ÙÔ˘ "Aminda’s World" ΤډÈÛ ÙÔ ‚Ú·‚Â›Ô Fipresci ÛÙË
§ÂÈ„›·.
Evald Otterstad has extensive experience as a director. He has made shorts, documentaries and feature films.
"The Track Meet" and "But the Weekends are ours" have received diplomas at the nOrwegian Short Film Festival in Grimstad. "Aminda's World" won the Fipresci Award in Leipzig
Evald Otterstad
Box 87, 1321 Stabekk
Norway
Tel: +47 90775958
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2000 Cigarettes
1999 Thoughts About the City
1998 The Photographers
1997 Uncle Oscar
1995 The Track Meet
1994 But the Weekends are ours
1992 Aminda's World
√ ∂vald Otterstad
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 Int'l Nature & Environment Film
Festival, Grenoble
2005 Green Film Festival, Korea
Matsalu Wildlife & Environment Film
Festival, Estonia
2004 Norwegian Short Film Festival,
Grimstad
Evald Otterstad about his film
∞Ó Î·È È· ˙ˆ ÛÙÔ ŸÛÏÔ, ÙËÓ ÚˆÙÂ‡Ô˘Û·, Ù·
·È‰Èο ÌÔ˘ ¯ÚfiÓÈ· Ù· ¤Ú·Û· ÛÙËÓ ·ÎÙ‹ ÙÔ˘
∆ÚfiÓÙÂÏ·¯ Û ÌÈ· ·ÁÚÔÙÈ΋ ÂÚÈÔ¯‹ Ù˘ ¡ÔÚ‚ËÁ›·˜. ™ÙȘ ÂÚÈÛÛfiÙÂÚ˜ Ù·Èӛ˜ ÌÔ˘ ÌÂÏÂÙÒ
ÙÔÓ ÙÔÈÎfi ¯·Ú·ÎÙ‹Ú· Ù˘ ÂÚÈÔ¯‹˜ ·˘Ù‹˜, ÎÈ
·ÎfiÌ· ÙÔÓ ·ÈÛı¿ÓÔÌ·È Ôχ ÔÈΛÔ. ◊Ù·Ó ÌÂÁ¿ÏË Ë ¤ÎÏËÍ‹ ÌÔ˘ fiÙ·Ó Û˘ÓÂȉËÙÔÔ›ËÛ· ÙË
ÁÚ‹ÁÔÚË ·Ó¿Ù˘ÍË ·˘ÙÔ‡ ÙÔ˘ ÎÔÓÙÈÓÔ‡ ÌÔ˘
ÂÚÈ‚¿ÏÏÔÓÙÔ˜, ÙÔ˘ ÙÔ›Ô˘ Ô˘ ¯·ÓfiÙ·Ó Î·È
Ù˘ ÔÚÈÛÙÈο ¯·Ì¤Ó˘ ÎÔ˘ÏÙÔ‡Ú·˜ Ô˘ ÁÓÒÚÈ˙·, ÌÈ·˜ ÎÔ˘ÏÙÔ‡Ú·˜ Ô˘ ˘‹Ú¯Â ÂΛ ÁÈ· ·ÈÒÓ˜. ∞˘Ù‹ ‹Ù·Ó Ë ·ÊÂÙËÚ›· ÁÈ· ·˘Ù‹ ÙËÓ Ù·ÈÓ›·.
∏ Ù·ÈÓ›· ·˘Ù‹ ¤ÁÈÓ ÙÔ Ù·Í›‰È ÌÔ˘ ÛÙÔ ÓÔÚ‚ËÁÈÎfi ÙÔ›Ô Î·È Ë ÁÓˆÚÈÌ›· ÌÔ˘ Ì οÔÈÔ˘˜ ·fi
ÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ô˘ ÙÔ ÊÚÔÓÙ›˙Ô˘Ó.
Although I now live in Oslo, the capitol, my
childhood was spent at the coast of
Trondelag, in a rural part of Norway. In more
of my films I have been examining the local
character of this district, and I still feel close to
it. It was like a shock to me when I realized the
rapid change of these my nearby surroundings, both the disappearing landscape and
the unalterable end of the culture that I knew;
a culture that has existed there for centuries.
That was the starting point for this film. The
film became my journey into the norwegian
landscape and my meeting with some of the
caretakers of this landscape.
ECOFILMS
ƒ√¢√™
2006
RODOS
51
ªπ∞ ∂•√ƒπ™∆∏ √π∫√°∂¡∂π∞
EXILE FAMILY MOVIE
∞˘ÛÙÚ›· Austria, 2005
¢È¿ÚÎÂÈ· Running time: 55’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
FIRST HAND FILMS
Zurich Office
Schaffhauserstrasse 359
8050 Zürich
Switzerland
Tel: +41 1 312 20 60
Fax: +41 1 312 20 80
Berlin Office
Mehringdamm 33
10961 Berlin
Germany
Tel: +49 30 285 290 88
Fax: +49 30 285 290 99
[email protected]
www.firsthandfilms.com
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ∞Ê‹ÁËÛË
Director, Script, Narration: Arash
∫¿ÌÂÚ· Camera: Arash, Arman, Azy,
Geza Horvat, Hossein
ªÔÓÙ¿˙ Edit: Dieter Pichler, Arash
°Ú·ÊÈο Graphics: Alexandra Braschel,
Geza Horvat, Arman
ªÔ˘ÛÈ΋ Music: Karuan
◊¯Ô˜ Sound Bernhard J. Schmid
∂ÎÙ¤ÏÂÛË ·Ú·ÁˆÁ‹˜
Executive Producer: Raphael Barth,
Stephanie Wagner
¶·Ú·ÁˆÁfi˜ Producer:
Geza Horvat, Arash
™‡ÓÔ„ËSynopsis
ªÈ· ÔÈÎÔÁ¤ÓÂÈ· πÚ·ÓÒÓ Ô˘ ˙ÂÈ Ì ÔÏÈÙÈÎfi ¿Û˘ÏÔ ÛÙËÓ ∂˘ÚÒË Î·È ÙËÓ ∞ÌÂÚÈ΋ ·ÔÊ·Û›˙ÂÈ Ó·
ÔÚÁ·ÓÒÛÂÈ ÌÈ· Û˘Ó¿ÓÙËÛË ÛÙ· ÎÚ˘Ê¿ Ì ÙËÓ ˘fiÏÔÈË ÔÈÎÔÁ¤ÓÂÈ· Ô˘ ˙ÂÈ ·ÎfiÌ· ÛÙÔ πÚ¿Ó.
Œ¯Ô˘Ó Ó· ȉˆıÔ‡Ó ÎÔÓÙ¿ ‰‡Ô ‰ÂηÂٛ˜, Ì· ¤Ú· ·fi ·˘Ùfi Â›Ó·È ÌÈ· Ê˘ÛÈÔÏÔÁÈ΋ ÌÂÁ¿ÏË ÔÈÎÔÁ¤ÓÂÈ·: ¤Ó·˜ ÁÏ˘Îfi˜ ·Ô‡˜, ÌÈ· ¤Í˘ÓË ÁÈ·ÁÈ¿, fiÌÔÚʘ ı›˜, ʈӷÎÏ¿‰Èη Í·‰¤ÚÊÈ·. ¶·Ú¿
ÙÔ˘˜ ÎÈÓ‰‡ÓÔ˘˜, Ë ÔÏ˘·Ó·ÌÂÓfiÌÂÓË, ÁÂÌ¿ÙË Û˘ÁΛÓËÛË Â·Ó¤ÓˆÛË Ú·ÁÌ·ÙÔÔÈÂ›Ù·È ÌÂÙ¿ ·fi
20 ¯ÚfiÓÈ· ¯ˆÚÈÛÌÔ‡ ÛÙË ™·Ô˘‰È΋ ∞Ú·‚›·, Û ¤Ó· ÌÈÎÚfi ‰ˆÌ¿ÙÈÔ ÍÂÓÔ‰Ô¯Â›Ô˘. ∆· ̤ÏË Ù˘ ÔÈÎÔÁ¤ÓÂÈ·˜ Ô˘ ˙Ô˘Ó ÂÍfiÚÈÛÙ· ·ÚÈÛÙ¿ÓÔ˘Ó ÙÔ˘˜ ÌÔ˘ÛÔ˘ÏÌ¿ÓÔ˘˜ ÚÔÛ΢ÓËÙ¤˜ ÒÛÙ ӷ ÙÔ˘˜ ÂÈÙÚ·› Ë Â›ÛÔ‰Ô˜ ÛÙȘ ÈÂÚ¤˜ fiÏÂȘ Ù˘ ªÂ‰›Ó· Î·È Ù˘ ª¤Îη. ¶ÚÔ·ÙÂÈ ÌÈ· ÙÂÚ¿ÛÙÈ· ÔÏÈÙÈÛÌÈ΋
Û‡ÁÎÚÔ˘ÛË ÌÂٷ͇ ÙÔ˘ ÌÔ˘ÛÔ˘ÏÌ·ÓÈÎÔ‡ ÎfiÛÌÔ˘ Î·È ÙˆÓ ‰˘ÙÈÎÒÓ ÎÔÈÓˆÓÈÒÓ Ù˘ ∂˘ÚÒ˘ ηÈ
Ù˘ ∞ÌÂÚÈ΋˜. ∆ÂÏÈο fï˜ ·˘Ùfi Ô˘ ÌÂÙÚ¿ Â›Ó·È Ë ÔÈÎÔÁ¤ÓÂÈ· –Î·È fiÏÔÈ ÌÈÏÔ‡Ó, ÁÂÏÔ‡Ó, Û˘˙ËÙÔ‡Ó, ÙÚ·ÁÔ˘‰Ô‡Ó, ÂÓı·ÚÚ‡ÓÔ˘Ó Ô ¤Ó·˜ ÙÔÓ ¿ÏÏÔÓ, ·ÛÙÂȇÔÓÙ·È, Ì·ÁÂÈÚÂ‡Ô˘Ó ÔÏÏ¿ Ê·ÁËÙ¿,
ÊÈÏÈÔ‡ÓÙ·È Î·È ·ÁηÏÈ¿˙ÔÓÙ·È fiÏË ÙËÓ ÒÚ·. ∂›Ó·È Û·Ó Î¿ı ¿ÏÏË ÔÈÎÔÁ¤ÓÂÈ·, Ì· ·ÁÈ‰Â˘Ì¤ÓÔÈ ÛÂ
ÌÈ· ÁÏ˘ÎfiÈÎÚË ÈÛÙÔÚ›·, fiˆ˜ ÙËÓ ·ÊËÁÂ›Ù·È ¤Ó· ·fi Ù· ÂÁÁfiÓÈ·.
An Iranian family living in political exile in Europe and America decides to organise a secret
meeting with the rest of the family still living in Iran. They haven’t seen each other for nearly two decades, but other than that they are a normal big family: sweet grandfather, smart grandmother, beautiful aunts, loud cousins. Despite all the dangers, the long awaited, tearful reunion
takes place after 20 years of separation in Saudi Arabia, in a small hotel room. The family members living in exile pretend to be Muslim pilgrims in order to be allowed to enter the holy cities
of Medina and Mekka. It proves to be a huge culture clash between the Muslim world and the
western societies of Europe and America. However, in the end, it is the family that counts – and
they talk, laugh, discuss, sing, encourage each other, make fun, cook a lot of food, and kiss and
hug all the time. Like any family, but caught in a bittersweet story as told by one of the grandchildren.
52
ECOFILMS
ƒ√¢√™
2006
RODOS
∞rash
°ÂÓÓ‹ıËΠÙÔ 1972 ÛÙÔ πÚ¿Ó Î·È ˙ÂÈ ·fi ÙÔ 1982 ÛÙË µÈ¤ÓÓË, ÛÙËÓ ∞˘ÛÙÚ›·. ™Ô‡‰·Û ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ Î·È ∫·Ï¤˜ ∆¤¯Ó˜, ÂÚÁ¿˙ÂÙ·È ·fi ÙÔ 1995 ˆ˜ ÂχıÂÚÔ˜ Û˘ÓÂÚÁ¿Ù˘ ÁÈ· ÙÔÓ ∞˘ÛÙÚÈ·Îfi ƒ·‰ÈÔÙËÏÂÔÙÈÎfi √ÚÁ·ÓÈÛÌfi
ORF. ∂›Ó·È ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜ Î·È ÛÎËÓÔı¤Ù˘ ÁÈ· ÙÔ ·È‰ÈÎfi Î·È Î·ÏÏÈÙ¯ÓÈÎfi ÙÌ‹Ì· ÙÔ˘ ORF. ÿ‰Ú˘Û ÙËÓ ÂÙ·ÈÚ›·
ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎÒÓ ·Ú·ÁˆÁÒÓ "Golden Girls Filmproduction" (www.goldengirls.at) ÙÔ 1998. Œ¯ÂÈ ÂÚÁ·ÛÙ›
ˆ˜ ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜, ÛÎËÓÔı¤Ù˘ Î·È ÌÔÓÙ¤Ú Û ·ÚÎÂÙ¿ ‚Ú·‚Â˘Ì¤Ó· ÓÙÔÎÈÌ·ÓÙ¤Ú, Ù·Èӛ˜ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜, ÂÈÚ·Ì·ÙÈΤ˜ Ù·Èӛ˜ Î·È ‰È·ÊËÌ›ÛÂȘ.
Born 1972 in Iran, lives since 1982 in Vienna/Austria. Studied Film und the Arts, has been working for the
Austrian Broadcasting Corporation, the ORF, since 1995 on a freelance basis. Writer and director for the ORF
youth and art departments. Founded the film and media production company "Golden Girls Filmproduction"
(www.goldengirls.at) in 1998. Has written, directed and edited numerous award-winning short documentaries, shorts, experimental films and commercials.
Arash
Golden Girls Filmproduktion Ges.n.b.R.
Fockygasse 33/1
1120 Vienna
Austria
Tel: +431 8105636
Fax: +431 8105949
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Mississippi
2004 The souvenirs of Mr. X
2002 The Impossibility
2001 Reformel
2000 Eclipsa-Let the world end
µÚ·‚›· Awards
2006 Silver Plaque Award for best feature
length documentary Chicago
Filmfestival
Diagonale Grand Prix for best
Austrian Documentary
2005 Award for best script/Idea Filmfestival
Fantoche/Schweiz
Golden Pigeon for best animated Film
Filmfestival Leipzig
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
Diagonale Graz (Winner Best Documentary
Visions du Réel Nyon (Comp.)
INPUT Taiwan
√ Arash ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Arash about his film
°‡ÚÈÛ· ·˘Ù‹ ÙËÓ Ù·ÈÓ›· ÁÈ· Ó· ηٷÓÔ‹Ûˆ Ò˜
ÌÔÚ› Ë ÎÔÈÓˆÓ›· Ó· ‰È·ÌÔÚÊÒÓÂÈ ÙÔ˘˜ ·ÓıÚÒÔ˘˜, Î·È ÙÔ˘˜ ÙÚfiÔ˘˜ Ô˘ ·Ó·Ù‡ÛÛÔ˘Ó
Ù· ¿ÙÔÌ· ·fi ÂÓÙÂÏÒ˜ ‰È·ÊÔÚÂÙÈΤ˜ ÎÔ˘ÏÙÔ‡Ú˜ ÁÈ· Ó· ·ÓÙÈÌÂÙˆ›ÛÔ˘Ó ÙÔÓ fiÓÔ Ô˘ ÚÔηÏ› Ë ‚›·ÈË ·ÔÌ¿ÎÚ˘ÓÛË ·fi ÙȘ ÔÈÎÔÁ¤ÓÂȘ ÙÔ˘˜. ∏ Ù·ÈÓ›· ·ÔÛÎÔ› Ó· Ú›ÍÂÈ Êˆ˜ Û ¤Ó·Ó ÎfiÛÌÔ Ô˘ Û·Ó›ˆ˜ ·ÔηχÙÂÙ·È ÛÙÔ
ÎÔÈÓfi, ·Ó ÔÙ¤ ·ÔηχÙÂÙ·È. ŒÚÂ ӷ οӈ ·˘Ù‹ ÙËÓ Ù·ÈÓ›·, ·„ËÊÒÓÙ·˜ ÙÔ˘˜ ÎÈÓ‰‡ÓÔ˘˜ ÙˆÓ Á˘ÚÈÛÌ¿ÙˆÓ, Î·È ·ÁÓÔÒÓÙ·˜ ÙÔ˘˜ ÎÈÓ‰‡ÓÔ˘˜ Ô˘ ı· ÌÔ˘ ÚÔηÏÔ‡Û ÙÔ ÔÏÔÎÏËڈ̤ÓÔ ¤ÚÁÔ. ∂›Ó·È ¤Ó· ¤ÚÁÔ ÂÛˆÙÂÚÈ΋˜ ·Ó¿Á΢, ÚÔ˚fiÓ Ù˘ ·Ó¿Á΢ Ó· Û˘Ó¯›Ûˆ Ó· ·Ï‡ˆ ÁÈ· ÙËÓ ·ÓıÚˆÈ¿, fiˆ˜ ¤Î·Ó·Ó ÔÈ ÁÔÓ›˜
ÌÔ˘ fiÏË ÙÔ˘˜ ÙË ˙ˆ‹, Ì ٷ ̤۷ Ô˘ ‰È·ı¤Ùˆ
ÂÁÒ ÒÛÙ ӷ ÙÈÌ‹Ûˆ ÛÙËÓ ÔÚ›· Î·È ·˘ÙÔ‡˜
Î·È ¿ÏÏÔ˘˜ Û·Ó ·˘ÙÔ‡˜.
I made this film to comprehend how society
manages to shape people, and the strategies
individuals from wholly different cultures develop to deal with pain caused by forced separation from their families. "Exile Family
Movie" is intended to provide insight into a
world that is seldom-if ever revealed to an audience. I had to make this film, despite the
dangers involved with shooting, and regardless of the dangers the finished product
would represent for me. It’s a product of the
inner compulsion, born of a need to continue
struggling for humanism, as my parents have
done their entire lives, with the means available to me in order to honor them and others
like them in the process.
ECOFILMS
ƒ√¢√™
2006
RODOS
53
Ã∞ª∞™: ¶π™ø ∞¶√ ∆∏ ª∞™∫∞
HAMAS: BEHIND THE MASK
∫·Ó·‰¿˜ Canada, 2005
¢È¿ÚÎÂÈ· Running time: 60’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
BISHARI FILM PRODUCTIONS
43 Northumberland Street. Rear Bldg.
Toronto, ON M6H 1R2
Canada
Tel: +1 416 504 2610
Fax: +1 416 504 9342
Email: [email protected]
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ¶·Ú·ÁˆÁfi˜
Director, Script, Producer:
Shelley Saywell
™˘Ì·Ú·ÁˆÁ‹ Co-producer:
Deborah Parks
∫¿ÌÂÚ· Camera: Michael Grippo CSC
ªÔÓÙ¿˙ Edit: Deborah Palloway
ªÔ˘ÛÈ΋ Music: Kevan Staples
∞Ê‹ÁËÛË Narration: Ted Biggs
◊¯Ô˜ Sound: Peter Sawade
™‡ÓÔ„ËSynopsis
∏ Saywell Î·È ÙÔ ÌÈÎÚfi Ù˘ Û˘ÓÂÚÁÂ›Ô ·ÔÙÂÏÔ‡ÌÂÓÔ ·fi ÌfiÓÔ ‰‡Ô ¿ÙÔÌ· ¤Ú·Û ÔÏÏÔ‡˜ Ì‹Ó˜
ÂÍ·ÛÊ·Ï›˙ÔÓÙ·˜ ÚˆÙÔÊ·Ó‹ ÚfiÛ‚·ÛË fi¯È ÌfiÓÔ ÛÙÔ˘˜ ÂοÛÙÔÙ ·Ú¯ËÁÔ‡˜ Ù˘ ÷̿˜, ·ÏÏ¿ ηÈ
Û ÚÔÛˆÈΤ˜ Û˘ÓÂÓÙ‡ÍÂȘ Ì ÏÈÁfiÙÂÚÔ ÁÓˆÛÙÔ‡˜ πÛÚ·ËÏÈÓÔ‡˜ Î·È ¶·Ï·ÈÛÙ›ÓÈÔ˘˜, ·ÓıÚÒÔ˘˜
‰ÈÔÚ·ÙÈÎÔ‡˜ Î·È ÁÓÒÛÙ˜ Ù˘ ηٿÛÙ·Û˘. ¶Ôχ ÛËÌ·ÓÙÈ΋ ËÁ‹ ˘‹ÚÍÂ Ë Û‡Ì‚Ô˘ÏÔ˜ Olivia
Ward, ÌÈ· ‚ÂÙÂÚ¿ÓÔ˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ ·fi ÙÔ ∆ÔÚfiÓÙÔ, Ù˘ ÔÔ›·˜ ÔÈ ÚÔÛˆÈΤ˜ ÁÓÒÛÂȘ Î·È ·ÍÈÔÈÛÙ›· ÛÙËÓ ÂÚÈÔ¯‹ ·Ô‰ÂÈ¯Ù‹Î·Ó ·ÓÂÎÙ›ÌËÙ˜.
∏ Ù·ÈÓ›· «Ã·Ì¿˜: ¶›Ûˆ ·fi ÙË Ì¿Ûη» ·Ôı·Ó·Ù›˙ÂÈ ÙË Ã·Ì¿˜ Û ÌÈ· ÛÙÈÁÌ‹ ÌÂÙ·ÌfiÚʈÛ˘ ÛÙË
Û¯ÂÙÈο Û‡ÓÙÔÌË ÈÛÙÔÚ›· Ù˘, ηٿ ÙË ‰È·‰Èηۛ· ÌÂÙ¿‚·Û˘ ·fi ÌÈ· ‰ÈÂıÓÒ˜ ηٷ‰ÈηṲ̂ÓË
ÙÚÔÌÔÎÚ·ÙÈ΋ ÔÚÁ¿ÓˆÛË, Ô˘ ÛÙÔ›¯ËÛ ÙË ˙ˆ‹ Û ÔÏÏÔ‡˜ πÛÚ·ËÏÈÓÔ‡˜, ÚÔ˜ ¤Ó· ÓfiÌÈÌÔ ‰ÈÂΉÈÎËÙ‹ Ï·˚΋˜ ÔÏÈÙÈ΋˜ ˘fiÛÙ·Û˘ ¿Óˆ ÛÙËÓ ›‰È· ·ÁÎfiÛÌÈ· ÛÎËÓ‹.
Saywell and her small, two-person crew spent many months securing unprecedented access to
not only the current leaders of Hamas, but also to one-on-one interviews with insightful, knowledgeable Israelis and Palestinians not often heard from. A crucially important resource was consultant Olivia Ward, a veteran Toronto Star journalist whose intimate knowledge of, and credibility within, the region proved invaluable.
"Hamas: Behind the Mask" captures Hamas at a transformative moment in its relatively short
history, when in process of shifting from an internationally-condemned terrorist organization
that has claimed many Israeli lives to a legitimate contender for popular political status on that
same world stage.
54
ECOFILMS
ƒ√¢√™
2006
RODOS
Shelley Saywell
∏ Shelley Saywell Â›Ó·È ∫·Ó·‰¤˙· ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú. √È Ù·Èӛ˜ Ù˘ ¤¯Ô˘Ó ÚÔÙ·ı› ÛÙËÓ ÂÈÏÔÁ‹ ÁÈ· Ù·
‚Ú·‚›· ŸÛÎ·Ú Î·È ¤¯Ô˘Ó ÎÂÚ‰›ÛÂÈ ÔÏ˘¿ÚÈıÌ· ‰ÈÂıÓ‹ ‚Ú·‚›· ÌÂٷ͇ ·˘ÙÒÓ ÙÔ ‚Ú·‚Â›Ô Emmy ÁÈ· Âͤ¯Ô˘Û·
‰ÈÂÚ¢ÓËÙÈ΋ ‰ËÌÔÛÈÔÁÚ·Ê›· Î·È ÙÚ›· ‚Ú·‚›· Gemini. √È Ù·Èӛ˜ Ù˘, Ô˘ ÂÈÎÂÓÙÚÒÓÔÓÙ·È Î˘Ú›ˆ˜ Û ÎÔÈÓˆÓÈο Î·È ÔÏÈÙÈο ı¤Ì·Ù·, ¤¯Ô˘Ó ·ÚÔ˘ÛÈ·ÛÙ› ÛÙËÓ ÙËÏÂfiÚ·ÛË Î·È Û ÊÂÛÙÈ‚¿Ï ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Û fiÏÔ ÙÔÓ ÎfiÛÌÔ. ∏ Saywell ¤¯ÂÈ ÙÈÌËı› ÚÔÛˆÈο Ì ÙÔ ÌÂÙ¿ÏÏÈÔ °Î¿ÓÙÈ Ù˘ UNESCO ÁÈ· ÙËÓ ÚÔÛÊÔÚ¿ Ù˘ ÛÙËÓ ÚÔÒıËÛË ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ Ù˘ ÂÈÚ‹Ó˘.
Shelley Saywell is a Canadian documentary filmmaker. Her films have been short-listed for the Academy
Awards and won numerous international awards including an Emmy for Outstanding Investigative Journalism and three Geminis. Her films, which are largely focused on social and political issues, have been televised
and officially selected for film festival around the world. Saywell has been personally honoured with UNESCO’S Gandhi Medal for promoting the culture of peace.
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Hamas: Behind the Mask
2004 Angry Girls
2003 Generation of Hate and Generation XSaddam
2002 Streetnurse
2001 A Child’s Century of War
2000 Out of the Fire
1999 Crimes of Honour
1998 Legacy of Terror: the bombing of Air
India
1997 Kim's Story: The Road from Vietnam
1996 Rape: A Crime of War
1994 Fire and Water
1993 No Man’s Land: Women Frontline
Journalists
1989 Shahira
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
IDFA, Amsterdam
∏ Shelley Saywell
ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Shelley Saywell
about her film
™ÙËÓ Ù·ÈÓ›· «Ã·Ì¿˜: ¶›Ûˆ ·fi ÙË Ì¿Ûη» ‰ÂÓ
˘¿Ú¯Ô˘Ó ηı·Ú¿ ·Ó·ÁÓˆÚ›ÛÈÌ· Ù¤Ú·Ù·, ÌfiÓÔ ·ÁˆÓÈ˙fiÌÂÓÔÈ ·ÓÙ·ÁˆÓÈÛÙ¤˜ ÌÈ·˜ ÛÎÏËÚ¿
Î·È ·ıÈ·Ṳ̂ӷ ‰ÈÂΉÈÎÔ‡ÌÂÓ˘ ψڛ‰·˜ Á˘.
√È ı·٤˜ ›Ûˆ˜ ‰·ÎÚ‡ÛÔ˘Ó ÁÈ· ηı¤Ó· ·fi ·˘ÙÔ‡˜ ÙÔ˘˜ ‰ÈÂΉÈÎËÙ¤˜: ÙfiÛÔ ÁÈ· ÙÔ˘˜ ·ÈÛÈfi‰ÔÍÔ˘˜ ∂‚Ú·›Ô˘˜ πÛÚ·ËÏÈÓÔ‡˜, Ô˘ ›‰·Ó ÙȘ ÂÏ›‰Â˜ ÙÔ˘˜ ÁÈ· ÂÈÚ‹ÓË Î·È ·ÛÊ¿ÏÂÈ· ÛÙË ÁË Ù˘
Â·ÁÁÂÏ›·˜ Ó· Û˘ÓÙÚ›‚ÔÓÙ·È, fiÛÔ Î·È ÁÈ· ÙÔ˘˜
¶·Ï·ÈÛÙ›ÓÈÔ˘˜, Ô˘ ·ÈÛı¿ÓÔÓÙ·È ÂÚÈıˆÚÈÔÔÈË̤ÓÔÈ, ¯ˆÚ›˜ ‰Èη›ˆÌ· „‹ÊÔ˘ Î·È ÚÔ‰Ô̤ÓÔÈ.
In "Hamas: Behind the Mask" there are no
clearly identifiable monsters: only competing
claimants to a harshly, passionately contested
strip of land. Viewers may find themselves
shedding tears for all those claimants, here:
both hopeful Jewish Israelis who have seen
those hopes of peace and security in the
promised land dashed, and Palestinians who
feel marginalized, disenfranchised and betrayed.
ECOFILMS
ƒ√¢√™
2006
RODOS
55
•∂¡√¢√Ã∂π√ ∆ø¡ √¡∂πƒø¡
DROMMENES HOTEL / HOTEL OF DREAMS
¢·Ó›· Denmark, 2005
¢È¿ÚÎÂÈ· Running time: 59ã
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
TV2 WORLD-Programme Sales
Sortedam Dossering 55A
DK-2100 Copenhagen
Tel: +45 65 21 22 23
Fax: +45 65 21 41 99
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director:
Helle Toft Jensen
¶·Ú·ÁˆÁfi˜ Producer:
Signe Byrge Sorensen
ªÔÓÙ¿˙ Edit: Nils Pagh Andersen
∂ÈÎfiÓ·, ∏¯Ô˜ Image, Sound: Helle Toft
Jensen, Serigne Drame, Jean Diouf
À‡ı˘ÓÔ˜ ¶·Ú·ÁˆÁ‹˜ Line Producer:
Fatoumata Kandé Senghor, Waru Studio
µÔËıÔ› ¶·Ú·ÁˆÁ‹˜ ÛÙÔ Popenguine
Production Assistance in Popenguine:
Amadou Sene, Moussa Sene Absa,
Ngagne Sene Absa
™¯Â‰È·ÛÌfi˜ ◊¯Ô˘, ªÔ˘ÛÈ΋
Sound Design, Music:
Bjorn Vido, Freezone
56
™‡ÓÔ„ËSynopsis
ªÂÙ¿ ·fi 25 ¯ÚfiÓÈ· ÛÙËÓ ∂˘ÚÒË, Ô Jeannot ÂÈÛÙÚ¤ÊÂÈ ÛÙËÓ ·ÙÚ›‰· ÙÔ˘ ÙË ™ÂÓÂÁ¿ÏË ÁÈ· Ó·
Ú·ÁÌ·ÙÔÔÈ‹ÛÂÈ ÙÔ ·È‰ÈÎfi ÙÔ˘ fiÓÂÈÚÔ: Ó· ¯Ù›ÛÂÈ ¤Ó· ÍÂÓÔ‰Ô¯Â›Ô ÛÙËÓ Î·Ú‰È¿ ÙÔ˘ ·Ú·ı·Ï¿ÛÛÈÔ˘ ¯ˆÚÈÔ‡ Popenguine. ∆Ô ¯ˆÚÈfi ˘ÔʤÚÂÈ ·fi ÙËÓ Í¤ÓË ˘ÂÚ·ÏÈ›· Î·È ÙËÓ ÍËÚ·Û›·. ∂›Ó·È ·Ó·Áη›· Ë ÔÈÎÔÓÔÌÈ΋ ·Ó¿Ù˘ÍË –Ì· ·ÔÙÂÏ› ·¿ÓÙËÛË Ô ÙÔ˘ÚÈÛÌfi˜; √È ·fi„ÂȘ ‰È›ÛÙ·ÓÙ·È. √È
·Í›Â˜ ‰ÔÎÈÌ¿˙ÔÓÙ·È. ª·‡ÚÔ Î·È Ï¢Îfi Ù·Ú¿˙ÔÓÙ·È ÛÙËÓ „˘¯‹ ÙÔ˘ Jeannot Î·È ÛÙËÓ ÌÈÎÚ‹ ÎÔÈÓfiÙËÙ·, Ô˘ ‰¤¯ÂÙ·È ÙËÓ ÂÈÛ‚ÔÏ‹ ÙÔ˘ ·ÁÎfiÛÌÈÔ˘ ÙÔ˘ÚÈÛÌÔ‡.
After 25 years in Europe, Jeannot returns to his native Senegal to realise his childhood dream of
building a hotel in the heart of the coastal village of Popenguine. The village has been subjected to foreign overfishing and drought. There is need for economic development – but is
tourism the answer? Opinions differ. Values are put to the test. Black and white are set in motion
in Jeannot’s soul and in the little community, which is subjected to the entry of global tourism.
ECOFILMS
ƒ√¢√™
2006
RODOS
Helle Toft Jensen
°ÂÓÓ‹ıËΠÙÔ 1957 ÛÙË ¢·Ó›·. ™ÎËÓÔı¤Ù˘, Û˘Ó-ÛÎËÓÔı¤Ù˘ Î·È ·Ú·ÁˆÁfi˜ Ù˘ ÂÙ·ÈÚ›·˜ ·Ú·ÁˆÁ‹˜ SPOR
MEDIA. ™ÎËÓÔı¤Ù˘ Î·È ·Ú·ÁˆÁfi˜ ·ÚÎÂÙÒÓ ÓÙÔÎÈÌ·ÓÙ¤Ú ·fi ÙÔ 1979.
Born 1957, Denmark. Director, co-director and producer of SPOR MEDIA productions. Directed and produced
several documentaries since 1979.
Helle Toft Jensen
Elmegade 5, 1. sal
2200 Kbh. N
Denmark
Tel: +45 3536 0940
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Now Listen Up
Hotel of Dreams
2002 Ancestors On-line, a journey into
African memory
1997 Fading Away
1993 Isabel
H Helle Toft Jensen
ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 New York African Film Festival, New
York City, USA
Green Film Festival, Seoul, Korea
Vera Film Festival, Aland, Finland
Flahertina International Documentary
Film Festival, Perm, Russia
2005 International Documentary Film
Festival Amsterdam
IDFA goes Tropic, Surinam
Zanzibar International Film Festival,
Zanzibar
Amakula Kampala International Film
Festival, Kampala, Uganda
Helle Toft Jensen about her film
°˘Ú›˙ˆ Ù·Èӛ˜ ÁÈ· ËıÈÎÔ‡˜ Î·È ÔÏÈÙÈÎÔ‡˜ ÏfiÁÔ˘˜. £˘ÌÒÓˆ Ì ÙËÓ ·ÓÈÛÔÙÈÌ›· ÙÔ˘ ÎfiÛÌÔ˘.
ªÔÚ›Ù ӷ ›Ù ˆ˜ «˙ˆ ·ÓÂÍ·Úًو˜ fiÛˆÓ
Û˘Ì‚·›ÓÔ˘Ó» Â›Ó·È ÙÔ Ì‹Ó˘Ì· fiÏˆÓ ÙˆÓ Ù·ÈÓÈÒÓ ÌÔ˘. ¢ÂÓ ÚÔÛı¤Ùˆ ÔÙ¤ ·Ê‹ÁËÛË ÛÙȘ
Ù·Èӛ˜ ÌÔ˘Ø ıˆÚÒ Ôχ ÛËÌ·ÓÙÈÎfi Ô Î·ı¤Ó·˜
Ó· ÌÈÏ¿ ÁÈ· ÙÔÓ Â·˘Ùfi ÙÔ˘. ™ÎÔfi˜ ÌÔ˘ ›ӷÈ
‰ÒÛˆ ÌÈ· ‰È·ÊÔÚÂÙÈ΋ ÂÈÎfiÓ· ÙˆÓ Î·ÙԛΈÓ
ÙˆÓ ¯ˆÚÒÓ ÙÔ˘ ∆Ú›ÙÔ˘ ∫fiÛÌÔ˘ ·fi ÙËÓ ÂÈÎfiÓ·
Ô˘ ΢Úȷگ› ÛÙ· ̤۷, ÌÈ·˜ Î·È ‰ÂÓ ·ÔÛÎÔÒ ÛÙÔ Ó· ·ÚÔ˘ÛÈ¿˙ˆ ı‡Ì·Ù·. £¤Ïˆ ÙÔ ÎÔÈÓfi Ó· ÓÈÒıÂÈ Î¿ÔÈ· ÚfiÎÏËÛË Î·È Ó· ‚ÈÒÓÂÈ,
ˆ˜ ÔÈ Ï¢ÎÔ› ¢˘ÙÈÎÔ› ÌÔÚÔ‡Ó Â‡ÎÔÏ· Ó·
‰Ô˘Ó ¤Ó· Ì·‡ÚÔ Â›‰ˆÏÔ ÙÔ˘ ·˘ÙÔ‡ ÙÔ˘˜, ÌÂ
Ù· Û˘Ó·ÈÛı‹Ì·Ù· Î·È Ù· fiÓÂÈÚ¿ ÙÔ˘˜.
I make films out of moral and political motivation. I'm angry about the world’s inequality. You could say that 'living despite it all' is the
subtext of all my films. I never add a voiceover
to my films; it's very important for me to have
people speak for themselves. My goal is to
create a different representation of people
from Third World countries than the prevailing media image, because I have no use for
victimisation. I want the audience to be challenged and experience that white Westerners
can easily mirror themselves in black people
and their emotions and dreams.
ECOFILMS
ƒ√¢√™
2006
RODOS
57
∆∑∂´ª™, ∞¶√ ∆√ ¡√™√∫√ª∂π√ ™∆∏ ƒ∂∞§ ª∞¢ƒπ∆∏™
JAMES, FROM CANCER TO REAL MADRID
√ÏÏ·Ó‰›·
The Netherlands, 2006
¢È¿ÚÎÂÈ· Running time: 40’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Davidii Media b.v.
Oude Spiegelstraat 2
1016 BM Amsterdam
The Netherlands
Tel: +31.20.422.6777
Email: [email protected]
™ÎËÓÔı¤Ù˜ Directors:
Maarten Bax, Bas Wooldrik
∫¿ÌÂÚ· Camera: Maarten Bax
ªÔÓÙ¿˙ Editing: Bas Wooldrik
™ÂÓ¿ÚÈÔ Script:
Maarten Bax, Bas Wooldrik
∂ÎÙ¤ÏÂÛË ·Ú·ÁˆÁ‹˜
Executive Producer:
Davidii Media b.v. Amsterdam
¶·Ú·ÁˆÁ‹ Production:
µixBox Media Productions, Amsterdam
™‡ÓÔ„ËSynopsis
¶ÚÈÓ ·fi ÂÓÓÈ¿ ¯ÚfiÓÈ· ÁÂÓÓ‹ıËΠÛÙËÓ ∞ı‹Ó· Ô ∆˙¤È̘ ∂˘ÌÔÚÊ›‰Ë˜ ·fi ŒÏÏËÓ· ·Ù¤Ú· ÎÈ
√ÏÏ·Ó‰‹ ÌËÙ¤Ú·. √ ∆˙¤È̘ ÌÂÁ·ÏÒÓÂÈ ÎÈ Â›Ó·È ¤Ó· ¯·ÚÔ‡ÌÂÓÔ, ·È¯ÓȉȿÚÈÎÔ ·È‰›. ∆Ô Ô‰fiÛÊ·ÈÚÔ Â›Ó·È ÙÔ ¿ıÏËÌ¿ ÙÔ˘. ∆Ô ¯·›ÚÂÙ·È Î·È ÛÈÁ¿-ÛÈÁ¿ Á›ÓÂÙ·È ¤Ó·˜ Ù·Ï·ÓÙÔ‡¯Ô˜ Ó·Úfi˜ ·›ÎÙ˘. ™ÙËÓ
ηٷÛ΋ӈÛË ÙÚ·˘Ì·Ù›˙ÂÙ·È. ™ÙÔ ÓÔÛÔÎÔÌ›Ô, Ë ‰È¿ÁÓˆÛË ‰Â›¯ÓÂÈ ˆ˜ ¤¯ÂÈ Î·ÚΛÓÔ. ªÔÚ› Ó·
˙‹ÛÂÈ ‹ Ó· Âı¿ÓÂÈ. ∏ ÔÈÎÔÁ¤ÓÂÈ· ÙÔ˘ ∆˙¤È̘ ¤¯ÂÈ ÛÔηÚÈÛÙ›. ¶·ÚfiÏ· ·˘Ù¿ ıÂÚ·‡ÂÙ·È. √ ∆˙¤È̘
ÎÂÚ‰›˙ÂÈ ÌÈ· ı¤ÛË ÂÎ·È‰Â˘fiÌÂÓÔ˘ ÛÙÔÓ Ô‰ÔÛÊ·ÈÚÈÎfi fiÌÈÏÔ ÙÔ˘ ÕÁÈ·Í. ∂ÈÙ¤ÏÔ˘˜, Ë ˙ˆ‹ ÙÔ˘
∆˙¤È̘ ·›ÚÓÂÈ ÌÈ· ¢¯¿ÚÈÛÙË ÙÚÔ‹. ªÂÙ·ÎÔÌ›˙ÂÈ Ì ÙÔÓ ·Ù¤Ú· ÙÔ˘ ÛÙÔ ÕÌÛÙÂÚÓÙ·Ì Î·È ·Ê‹ÓÂÈ
›Ûˆ ÙË ÌËÙ¤Ú· ÙÔ˘, ÙÔ˘˜ ‰‡Ô ·‰ÂÚÊÔ‡˜ Î·È ÙËÓ ·‰ÂÚÊ‹ ÙÔ˘. ∏ ¤ÓÙ·ÛË Ô˘ ÚÔηÏÂ›Ù·È ·fi ÙÔ
¯ˆÚÈÛÌfi Ù˘ ÔÈÎÔÁ¤ÓÂÈ·˜, Ô‰ËÁ› ÙÂÏÈο Û ÌÈ· Â·Ó¤ÓˆÛË ÛÙË ª·‰Ú›ÙË, fiÙ·Ó Ô ∆˙¤È̘ Á›ÓÂÙ·È ‰ÂÎÙfi˜ ÛÙË ƒÂ¿Ï ª·‰Ú›Ù˘. ™‹ÌÂÚ· Ô ∆˙¤È̘ ·›˙ÂÈ ÛÙÔÓ ÈÔ ‰È¿ÛËÌÔ Ô‰ÔÛÊ·ÈÚÈÎfi fiÌÈÏÔ, ÙË ƒÂ¿Ï
ª·‰Ú›Ù˘, ÙÔÓ ÎfiÛÌÔ ÙˆÓ ‰È¿ÛËÌˆÓ ÂȉÒÏˆÓ ÙÔ˘.
Nine years ago, James Efmorfides was born in Athens as a child of a Greek father and a Dutch
mother. James grows up as a happy, playful child. Soccer is his game. He is enjoying it and turns
into a talented young player. While at a summer camp, he injures himself. At the hospital, James
is diagnosed with cancer. He can die or survive... James' family is shocked. However, he recovers.
James earns a respected trainee position at the Ajax Football Club in Amsterdam. Finally,
James's life seems to take a turn for the better. With his father, he moves to Amsterdam and
leaves his mum, two brothers and sister behind. The tension, resulting from the family break-up,
eventually leads to a reunion in Madrid, when James is accepted by "Real Madrid Club de Futbal". Today, James plays in the world's most renowned club: "Real Madrid", the world of his famous idols.
58
ECOFILMS
ƒ√¢√™
2006
RODOS
Maarten Bax, Bas Wooldrik
√ ª¿·ÚÙÂÓ ª·Í (·ıÏËÙÈÎÔÁÚ¿ÊÔ˜) ÎÈ Ô ª·˜ °Ô‡ÏÓÙÚÈÎ (ÌÔÓÙ¤Ú) ÁÓˆÚ›ÛÙËÎ·Ó ÛÙÔ ÂÚÈÊÂÚÂÈ·Îfi ÙËÏÂÔÙÈÎfi
‰›ÎÙ˘Ô, TV Noord-Holland Î·È ÕÌÛÙÂÚÓÙ·Ì ∞∆5. √ ª¿·ÚÙÂÓ Â›¯Â ÌÈ· Ì·ÎÚfi¯ÚÔÓË Û¯¤ÛË Ì ÙËÓ Ô‰ÔÛÊ·ÈÚÈ΋
ÔÌ¿‰· ÕÁÈ·Í Î·È Ì¤Ûˆ ÙÔ˘ Û¯¤Û˘ ·˘Ù‹˜ ·Ó·Î¿Ï˘„ ÙËÓ ÂÎÏËÎÙÈ΋ ÈÛÙÔÚ›· ÙÔ˘ «∆˙¤È̘». ∆Ô ˘ÏÈÎfi Ô˘ Á˘Ú›ÛÙËΠÙÔÓ ÚÔËÁÔ‡ÌÂÓÔ ¯ÚfiÓÔ, ·ÔÙ¤ÏÂÛ ÙË ‚¿ÛË ÁÈ· ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú «∆˙¤È̘». ∞Ó·˙ËÙÒÓÙ·˜ ÙÚfiÔ˘˜ ÁÈ· ÙÔ
ÛÙ‹ÛÈÌÔ ÙÔ˘ ÓÙÔÎÈÌ·ÓÙ¤Ú, Ô ª¿·ÚÙÂÓ Û˘ÓÂÚÁ¿ÛÙËΠ̠ÙÔÓ ª·˜ °Ô‡ÏÓÙÚÈÎ. ŸÙ·Ó ·ÚÔ˘Û›·Û ÙÔ ˘ÏÈÎfi ÛÙÔÓ
ª·˜, ÔÈ ‰˘Ô ÙÔ˘˜ Ì·˙› ·Ó¤Ù˘Í·Ó ¤Ó· ÂÚÈÂÎÙÈÎfi ÛÂÓ¿ÚÈÔ, ÊÙÈ¿¯ÓÔÓÙ·˜ ¤ÙÛÈ ·fi ÙÔ 15ˆÚÔ ˘¿Ú¯ÔÓ ˘ÏÈÎfi ·˘Ùfi
ÙÔ 40ÏÂÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú.
BixBox Media Productions
Overtoom 354
1054 JG Amsterdam
The Netherlands
Tel: +31 20 4123212
Email: [email protected]
Maarten Bax (sport-journalist) and Bas Wooldrik (video-editor) met at the regional broadcasting company,
TV Noord-Holland and the Amsterdam television AT5. Maarten has developed a longstanding relationship
with AFC Ajax and though this network, he discovered the amazing story of "James". The footage shot during
last year, formed the basis of the documentary "James". While exploring ways to put the documentary together, Maarten joined forces with Bas Wooldrik. When presenting the footage to Bas, the two developed a
comprehensive script, which led to bringing over 15 hours of video material back to this 40min documentary.
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2005 Docs for Sale, IDFA, Amsterdam
ECOFILMS
ƒ√¢√™
2006
RODOS
59
ª∞£∞π¡√¡∆∞™ ∆√ ¶∞πáπ¢π ∆∏™ ∑ø∏™
APRENDIENDO EL JUEGO DE LA VIDA
LEARNING THE GAME OF LIFE
πÛ·Ó›· Spain, 2005
¢È¿ÚÎÂÈ· Running time: 52’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Carlos Sevillano
Explora Films, S.L.
C/ Francisca Delgado, 11
Edificio A, 4a Planta
Spain
Tel: +34 91 490 11 50
Fax: +34 91 490 37 61
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director:
Fernando Gonzãalez Sitges
ªÔÓÙ¿˙ Edit: Mario Alonso Solãorzano,
Fernando Gonzãalez Sitges
¶·Ú·ÁˆÁfi˜ Producer: Oscar Portillo
∂ÎÙ¤ÏÂÛË ·Ú·ÁˆÁ‹˜
Executive Producer: Eduardo Pelaez
ªÔ˘ÛÈ΋ Music: Santi Vega
∞Ê‹ÁËÛË Narration: Stephen Hughes
◊¯Ô˜ Sound: Carlos de Hita
™‡ÓÔ„ËSynopsis
∏ ÂÈ‚›ˆÛË ÛÙÔÓ ÎfiÛÌÔ ··ÈÙ› οÔÈ· ÂÏ¿¯ÈÛÙË ÁÓÒÛÙË ÙˆÓ Î·ÓfiÓˆÓ ÙÔ˘ ·È¯ÓȉÈÔ‡ Ù˘ ˙ˆ‹˜.
ª¤ÚÔ˜ ÙˆÓ Î·ÓfiÓˆÓ ·˘ÙÒÓ Â›Ó·È ¤Ó· ‰ÒÚÔ ·fi ÙËÓ ÎÏËÚÔÓÔÌÈ¿ ÙˆÓ ¯ÈÏÈ¿‰ˆÓ ÚÔËÁÔ‡ÌÂÓˆÓ
ÁÂÓÈÒÓ, Ì· Ú¤ÂÈ Ó· ‰È‰·¯Ùԇ̠ÔÏÏÔ‡˜ ηÓfiÓ˜ ·ÎfiÌ· fiÛÔ ˙Ô‡ÌÂ. ª¤Ûˆ ÂÓÙ˘ˆÛÈ·ÎÒÓ ·Ú·‰ÂÈÁÌ¿ÙˆÓ ı· ·Ó·Î·Ï‡„Ô˘Ì Ò˜ Ë ÂͤÏÈÍË ÂÚȤÏÂÍ ÙÔ˘˜ ηÓfiÓ˜ ÙÔ˘ ·È¯ÓȉÈÔ‡ Ù˘ ˙ˆ‹˜.
º˘Ù¿ Î·È ˙Ò· ·fi ÙȘ ¤ÓÙ Ë›ÚÔ˘˜ ı· Ì·˜ ÂÈÙÚ¤„Ô˘Ó Ó· Ì¿ıÔ˘Ì ÔÚÈṲ̂ӷ ·fi Ù· Ù¯ӿÛÌ·Ù· Ô˘ ÙÔ˘˜ ÂÈÙÚ¤Ô˘Ó Ó· ÍÂÂÚÓÔ‡Ó ÙȘ ‰ÔÎÈ̷ۛ˜ ·˘ÙÔ‡ ÙÔ˘ ·È¯ÓȉÈÔ‡, ·fi ÙȘ ·ÏÔ˚Τ˜ ̤‰Ô˘Û˜ ˆ˜ ÙÔ˘˜ ÎÔÈÓˆÓÈÎÔ‡˜ ÂϤʷÓÙ˜, ·fi ÙÔ˘˜ Û¿ÓÈÔ˘˜ ÚÈÓfiÎÂÚÔ˘˜ Ù˘ ™Ô˘Ì¿ÙÚ· ˆ˜ ÙÔ˘˜
Â˘Ê˘Â›˜ Ô˘Ú·ÁÎÔÙ¿ÁÎÔ˘˜, ·fi Ù· Û·ÚÎÔÊ¿Á· Ê˘Ù¿ ˆ˜ ÙÔ ‰ÈÎfi Ì·˜ ›‰Ô˜: ÙÔÓ ¿ÓıÚˆÔ.
To survive in the world requires a minimum knowledge about the rules of the life’s game. Part
of these rules is a gift given by the heritage of thousands of previous generations, but we must
learn many others during our lives. Though spectacular examples we will discover how evolution has been complicating the rules of the game of life. Plants and animals from the five continents will allow us to know some of the tricks that have allowed them to surpass the trials of this
game; from the simple jellyfishes to the social elephants; from the scarce Sumatran rhinoceroses to the intelligent orang-utans; from the carnivorous plants to our own species: men.
60
ECOFILMS
ƒ√¢√™
2006
RODOS
Fernando Gonzãalez Sitges
√ Fernando Gonzalez
’ Sitges ÁÂÓÓ‹ıËΠÛÙË ª·‰Ú›ÙË, ÛÙȘ 12 π·ÓÔ˘·Ú›Ô˘ 1961. ™Ô‡‰·Û ‚ÈÔÏÔÁ›· Ì Âȉ›Î¢ÛË ÛÙË
˙ˆÔÏÔÁ›·. ™Ù· ÙÂÏÂ˘Ù·›· ¤ÙË ÙˆÓ ÛÔ˘‰ÒÓ ÙÔ˘ ¿Ú¯ÈÛ ӷ ÁÚ¿ÊÂÈ Ù· ÚÒÙ· ÙÔ˘ ÛÂÓ¿ÚÈ· ÁÈ· ÓÙÔÎÈÌ·ÓÙ¤Ú Î·È Ó· ˙ˆÁÚ·Ê›˙ÂÈ ÁÈ· ‚È‚Ï›· Î·È ÙËÏÂÔÙÈΤ˜ ‰È·ÊËÌ›ÛÂȘ. ªÂÙ¿ ÙËÓ ÔÏÔÎÏ‹ÚˆÛË ÙˆÓ ÛÔ˘‰ÒÓ ÙÔ˘, ÂÚÁ¿ÛÙËΠÛÙË ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ∂ıÓÈÎÔ‡ ∫¤ÓÙÚÔ˘ ¢Â‰ÔÌ¤ÓˆÓ ¶ÂÚÈ‚·ÏÏÔÓÙÈ΋˜ ∂Î·›‰Â˘Û˘ Î·È ›‰Ú˘Û ÙËÓ ÚÒÙË ÙÔ˘ ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜,
Ecofor.
¢‡Ô ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ· Û˘ÌÌÂÙ¤¯ÂÈ Û ¤Ó· Ù·Í›‰È ηٿ Ì‹ÎÔ˘˜ Ù˘ ·ÌÂÚÈοÓÈ΢ Ë›ÚÔ˘ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· Ù˘ ÛÂÈÚ¿˜
ÓÙÔÎÈÌ·ÓÙ¤Ú "The route of the Cordobas". ∂ÈÛÙÚ¤ÊÔÓÙ·˜ ÛÙËÓ πÛ·Ó›·, ›‰Ú˘Û Ì οÔÈÔ˘˜ ·fi ÙÔ˘˜ Û˘ÓÔ‰ÔÈfiÚÔ˘˜ ÙÔ˘ ÙËÓ ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜ Transglobe Films. ∂ÚÁ¿ÛÙËΠÂΛ ÁÈ· ‰Ò‰Âη ¯ÚfiÓÈ· ˆ˜ ÛÎËÓÔı¤Ù˘ Î·È ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜.
∆Ô 2004 ·ÔÊ·Û›˙ÂÈ Ó· ȉڇÛÂÈ ÌÈ· Ó¤· ÂÙ·ÈÚ›· Ì ‰‡Ô Û˘ÓÂÚÁ¿Ù˜ ÙÔ˘ ·fi ÙËÓ Transglobe, ÙËÓ ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜
Explora Films ÛÙËÓ ÔÔ›· ÂÚÁ¿˙ÂÙ·È Û‹ÌÂÚ·. ™Â ·˘Ù‹ ÙË Ó¤· ÂÙ·ÈÚ›·, Ì·˙› Ì ٷ ÓÙÔÎÈÌ·ÓÙ¤Ú ÙÔ˘, ÂÙÔÈÌ¿˙ÂÈ ÙËÓ ÚÒÙË
ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Ù·ÈÓ›· ÙÔ˘.
Fernando Gonzãalez Sitges
C/ Francisca Delgado, 11
Edificio A, 4a Planta
Spain
Tel: +34 91 490 11 50
Fax: +34 91 490 37 61
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
The Route of the Cordobas, 8x30’
The Route of the Explorers, 13x30’
The Alternative Route ,13x60’
The Lost Paradises, 13x30’
Lost Worlds II, 13x30’
The Third Planet I, 13x30’
The Third Planet II, 13x30’
The Route of Samarkanda, 13x30’
Adaptation, 3x60’
Lost World, 26x60’
The Keepers of the Planet, 13x60’
Survivors of the Planet Earth, 13x30’
South Georgia: Life Under furious 50Æ, 52’
The Kraken Project: Searching the Giant
Squid, 52’
Candidates to Extinction, 3x52’
The War of the Tiger, 1x52’
Graves without a name, 26’
Rain Forest: Jungle Seeds, 52’
Learning the Game of Life, 52’
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
TVE (Spain)
Odisea (Spain & Portugal)
Canal 6 (Puerto Rico)
TVE International (Satellite)
Fernando Gonzãalez Sitges was born in Madrid, on January 12th, 1961. He studied Biology majoring in Zoology.
During his last University years he started writing his first documentaries scripts and drawing for books and TV
commercials. After completing his studies, he worked on the making of the National Centre of Environmental Education Database and established his first production company, Ecofor.
Two years later he undertakes a one year trip across the American continent to shoot the documentary series "The
route of the Cordobas". After returning to Spain, he established, with some of his travel mates, the production
company Transglobe Films. He worked there for the following twelve years directing and scriptwriting.
In 2004 he decides to found a new company with other two partners from Transglobe, Explora Films, Production
Company where he works nowadays. In this new company, together with his documentaries, he is developing his
first feature length.
√ Fernando Gonzãalez Sitges
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Fernando Gonzãalez Sitges
about his film
Œ¯ÔÓÙ·˜ ÎÈÓËÌ·ÙÔÁÚ·Ê‹ÛÂÈ ÙË ˙ˆ‹ ÛÙËÓ ¿ÁÚÈ·
ʇÛË ÛÙȘ ¤ÓÙ Ë›ÚÔ˘˜ ÁÈ· ‰È¿ÊÔÚ· ÓÙÔÎÈÌ·ÓÙ¤Ú, ÙÔ Û˘ÓÂÚÁÂ›Ô Ù˘ Explora Films ÂÌÓ‡ÛÙËΠÙË ‰ËÌÈÔ˘ÚÁ›· ÂÓfi˜ ÓÙÔÎÈÌ·ÓÙ¤Ú
Ô˘ ı· ηٷÈ·ÓfiÙ·Ó Ì ٷ Ì·ı‹Ì·Ù· Ô˘ ‰È‰·¯ı‹Î·Ì ·Ú·ÎÔÏÔ˘ıÒÓÙ·˜ ÙfiÛ· ‰È·ÊÔÚÂÙÈο ›‰Ë ·fi fiÏÔ ÙÔÓ ÎfiÛÌÔ. £ÂÏ‹Û·Ì ӷ
ÌÔÈÚ·ÛÙԇ̠̠ÙÔ ÎÔÈÓfi ÙÔ ÂÚÒÙËÌ· Ô˘ ›¯·ÌÂ Û˘¯Ó¿ Î·È ÔÈ ›‰ÈÔÈ ÂÓÒ ‚Ϥ·Ì Ò˜ ÊÚfiÓÙÈ˙ ÌÈ· Ê¿Ï·ÈÓ· ÙÔ ÌÈÎÚfi Ù˘, ÙËÓ ÂÈıÂÙÈÎfiÙËÙ·
ÙˆÓ ·ÚÎÔ‡‰ˆÓ ÁÎÚ›˙ÏÈ ÚÔ˜ Ù· ÓÂÔÁ¤ÓÓËÙ· ÌÈÎÚ¿ ÙÔ˘˜ ‹ Ù· ·›ÛÙÂ˘Ù· Ì·ı‹Ì·Ù· Ô˘ ÌÂÙ·ÙÚ¤Ô˘Ó ÙÔ˘˜ Ô˘Ú·ÎÔÙ¿ÁÎÔ˘˜ Û Âȉ‹ÌÔÓ˜
Ù˘ ‚ÔÙ·ÓÔÏÔÁ›·˜. ¶fiÛË ·fi ÙË ÁÓÒÛË Ô˘
¯ÚÂÈ·˙fiÌ·ÛÙ ˆ˜ fiÓÙ· ÁÈ· Ó· ÂÈ‚ÈÒÛÔ˘ÌÂ
ÛÙÔÓ ÎfiÛÌÔ ÚÔ¤Ú¯ÂÙ·È ·fi ÙÔ ÁÂÓÂÙÈÎfi Ì·˜
ÎÒ‰Èη Î·È fiÛË Ì·ı·›ÓÂÙ·È fiÛÔ ˙Ô‡ÌÂ; ◊ ÚˆÙÒÓÙ·˜ ÈÔ ¿ÌÂÛ·, ÔÈÔ˜ Ì·˜ ‰›‰·Í ÙÔ˘˜ ηÓfiÓ˜ ÙÔ˘ ·È¯ÓȉÈÔ‡ Ù˘ ˙ˆ‹˜;
After filming wildlife and nature from the five
continents for different documentaries, the
wildlife crew from Explora Films considered
and came out with the idea of making a documentary that dealt with the lessons we learnt
watching so many different species all over
the world. We wanted to share with the audience a question that we asked ourselves frequently while we were watching the cares of a
whale to her baby, the vicissitudes of emperor
penguins to find their chicks, the aggressiveness of grizzly bears with their litter or the incredible lessons that turns orang-utans into
real specialists in botanic. How much of the
knowledge we need, as living beings, to survive in the world comes from our genetic
code and how much is learnt during our life?
Or in a more direct question, who has taught
us the rules of the game of life?
ECOFILMS
ƒ√¢√™
2006
RODOS
61
™∞¡ ¶∞ƒ∞ªÀ£π... ∆√ ¶∞¶π°∫√ ∂π¡∞𠶃√√ƒπ™ª√™
LIKE A FAIRYTALE: PAPINGO IS A DESTINATION
∂ÏÏ¿‰· Greece, 2005
¢È¿ÚÎÂÈ· Running time: 60’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Ioanis Colias
ERT SA
Mesogeion 432, 15342 Ayia Paraskevi
Greece
Tel: +30 2106075711
Fax: +30 2106075714
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director:
¡›ÎÔ˜ ¶··ı·Ó·Û›Ô˘ Nikos Papathanasiou
∫›ÌÂÓ·: ∫¿ÏÏÈ· ∫·ÛÙ¿ÓË Kalia Kastani
‘∂Ú¢ӷ: ŒÏÂÓ· ¶·ÛÛ¿ Elena Passa
ªÔ˘ÛÈ΋ ∂È̤ÏÂÈ·: ƒÂÓٿٷ ¢ÈηÈÔÔ‡ÏÔ˘
Redata Dikaiopoulou
™˘Ì·Ú·ÁˆÁ‹: ∂∆1, ¶ÚÔÎfi˘
ªÔ˘ÚÓ¿˙Ô˜ ET1, Prokopis Bournazos
™‡ÓÔ„ËSynopsis
√ ¡›ÎÔ˜ ™·ÍÒÓ˘ Â›Ó·È ¤Ó·˜ ·Ïfi˜ ‰È·ÊËÌÈÛÙ‹˜ Ô˘ ηÙfiÚıˆÛ ӷ ÊÙ¿ÛÂÈ ÛÙ· ˘„ËÏfiÙÂÚ· ÎÏÈÌ¿ÎÈ· Ù˘ ÂÏÏËÓÈ΋˜ ‰È·Ê‹ÌÈÛ˘ Î·È Ó· Á›ÓÂÈ Úfi‰ÚÔ˜ Û ÌÈ· ·fi ÙȘ ÌÂÁ·Ï‡ÙÂÚ˜ ‰È·ÊËÌÈÛÙÈΤ˜ ÂÙ·ÈÚ›˜ Î·È ÂÓÒ ‚Ú›ÛÎÂÙ·È ÛÙËÓ ÎÔÚ˘Ê·›· Â·ÁÁÂÏÌ·ÙÈ΋ ÙÔ˘ ÛÙÈÁÌ‹, ·ÔÊ·Û›˙ÂÈ Û˘ÓÂȉËÙ¿ Ó·
‰Ú·ÂÙ‡ÛÂÈ ·fi fiÏ· ·˘Ù¿ Ô˘ ÙÔÓ ÏËÁÒÓÔ˘Ó ˆ˜ ¿ÓıÚˆÔ Î·È Ó· ·Ó·˙ËÙ‹ÛÂÈ Î·Ù·Ê‡ÁÈÔ ÛÙÔ
·ÔÌ·ÎÚ˘Ṳ̂ÓÔ ¶¿ÈÁÎÔ, Û ¤Ó· ÙfiÔ fiÔ˘ ı· Í·Ó··Ó·Î·Ï‡„ÂÈ ÙÔÓ Â·˘Ùfi ÙÔ˘ Î·È ı· Â·Ó·ÚÔÛ‰ÈÔÚ›ÛÂÈ ÙËÓ Ù·˘ÙfiÙËÙ¿ ÙÔ˘, fi¯È È· ˆ˜ ‰È·ÊËÌÈÛÙ‹˜ Ô‡Ù ˆ˜ ÍÂÓÔ‰fi¯Ô˜ ·ÏÏ¿ ˆ˜ ·Ïfi˜ ¿ÓıÚˆÔ˜.
Nikos Saxonis is just an ordinary advertiser who succeeded in advertising and became chairman
of one of the biggest advertising companies in Greece. At that moment, and while he is at the
peak of his career, he decides to escape from all these things that hurt and offend him as a human being, and to seek refuge in the faraway village of Papingo, a place where he can rediscover himself and redefine his identity, no longer as an advertiser or a hotelier, but as a human being.
62
ECOFILMS
ƒ√¢√™
2006
RODOS
¡›ÎÔ˜ ¶··ı·Ó·Û›Ô˘
™Ô˘‰¤˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ÙËÏÂfiÚ·Û˘ ÛÙËÓ ∂ÏÏ¿‰· Î·È ÛÙËÓ πÙ·Ï›·. ∂‰Ò Î·È ¿Óˆ ·fi ÙÚÂȘ ‰ÂηÂٛ˜ Û˘ÓÂÚÁ¿˙ÂÙ·È Ì ÙËÓ ∂ƒ∆ ˆ˜ ÛÎËÓÔı¤Ù˘, fiÔ˘ ‰È·Ù¤ÏÂÛÂ Î·È ‰È¢ı˘ÓÙ‹˜ ÂÛˆÙÂÚÈ΋˜ ·Ú·ÁˆÁ‹˜ Î·È ‰È¢ı˘ÓÙ‹˜
ÙËÏÂfiÚ·Û˘. ‘∂¯ÂÈ ‰ËÌÈÔ˘ÚÁ‹ÛÂÈ ¿Óˆ ·fi 2000 ÂÓËÌÂÚˆÙÈΤ˜ Î·È ÂÈÌÔÚʈÙÈΤ˜ ÂÎÔÌ¤˜ fiˆ˜ Â›Û˘ 800
Î·È ϤÔÓ ‰È·ÊËÌÈÛÙÈο spots. ∂›Ó·È ÛÎËÓÔı¤Ù˘-‰È¢ı˘ÓÙ‹˜ ÙÔ˘ ÙËÏÂÔÙÈÎÔ‡ ÛÙ·ıÌÔ‡ ¢‹ÌÔ˘ ∞ıËÓ·›ˆÓ «∞ı‹Ó·-∂χıÂÚË TV».
Nikos Papthanasiou
Film and TV studies in Greece and Italy. For more than thirty years he works as a director at the Hellenic
Broadcast Corporation, where he has been also director of production and director of the TV section. He made
more than 2000 informative and educational broadcasts, as well about 800 advertising spots. He is filmmaker and director of "Athina – Eleftheri TV", the TV channel of the ªunicipality of Athens.
¡›ÎÔ˜ ¶··ı·Ó·Û›Ô˘
Nikos Papathanasiou
Tel: +30 6932210718
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2000 Millennium
1986 ¡·ÚΈÙÈο (Narcotics)
1978 ªÂÙ¿ (After)
1973 ∞‰È¤ÍÔ‰Ô (Dead End)
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
ºÂÛÙÈ‚¿Ï ¡ÙÔÎÈÌ·ÓÙ¤Ú £ÂÛÛ·ÏÔӛ΢,
ª¿ÚÙÈÔ˜ 2006
∆hessaloniki Documentary Festival 2006
O ¡›ÎÔ˜ ¶··ı·Ó·Û›Ô˘
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Nikos Papathanasiou
about his film
ªÈ· ÂÈÎÔÛ·ÂÙ›· ÚÈÓ, ÎÔÈÓˆÓÈÔÏfiÁÔÈ Î·È ÈÛÙÔÚÈÎÔ›, ÔÚ·Ì·Ù›˙ÔÓÙ·Ó ¤Ó· Ï·ÌÚfi „ËÊÈ·Îfi ̤ÏÏÔÓ: ÏÈÁfiÙÂÚË ‰Ô˘ÏÂÈ¿, ÂÚÈÛÛfiÙÂÚÔ˜ ¯ÚfiÓÔ˜
ÁÈ· ÂÚÈÛÛfiÙÂÚÔ˘˜ ·ÓıÚÒÔ˘˜. ŒÎ·Ó·Ó Ï¿ıÔ˜. ∏ ÂÔ¯‹ ÙÔ˘ ÂχıÂÚÔ˘ ¯ÚfiÓÔ˘ ‰ÂÓ ‹ÚıÂ
ÔÙ¤ -ÙÔ ·ÓÙ›ıÂÙÔ. ™Ù·‰È·Î¿, Ë ÂÚÁ·Û›· ηٷÛ·Ú¿˙ÂÈ ÙÔ 24ˆÚfi Ì·˜, Á›ÓÂÙ·È ·˘Ùfi Ô˘ ›̷ÛÙÂ, Ë Ù·˘ÙfiÙËÙ¿ Ì·˜, Ë ÌÔÓ·‰È΋ ·ÔÛÙÔÏ‹
Ì·˜. ∂ÊfiÛÔÓ ÙÔ ÂÚÈÛÛfiÙÂÚÔ Â›Ó·È È· Û˘ÓÒÓ˘ÌÔ ÙÔ˘ ηχÙÂÚÔ˘, Ú¤ÂÈ Ó· ‰Ô˘Ï‡ÂȘ Ôχ ÁÈ· Ó· ¤¯ÂȘ οÙÈ. ∫·È fiÛÔ ÈÔ Ôχ ‰Ô˘Ï‡ÂȘ, ÙfiÛÔ ‰ÂÓ ÌÔÚ›˜ Ó· ÂˆÊÂÏËı›˜ ·fi Ù›ÔÙ·...
Twenty years ago, sociologist and historians
were dreaming of a bright digital future: less
work, more time for more people. They were
wrong. The free-time era never came to be
–quite the opposite. Work gradually devours
our days, becomes what we are, our identity,
our only mission. Since more means better, you have to work more to have something.
And the more you work, the less you can take
advantage of anything…
ECOFILMS
ƒ√¢√™
2006
RODOS
63
§√¶√À∫Ã√µ√
LOPUKHOVO
µ¤ÏÁÈÔ Belgium, 2005
¢È¿ÚÎÂÈ· Running time: 57’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Wallonie Image Production (WIP)
Quai des Ardennes 16-17
B-4020 Liège
Belgium
Tel: +32 4 340 10 40
Fax: +32 4 340 10 41
Email: [email protected]
www.wip.be
™ÎËÓÔıÂÛ›· Director: Jara Malevez
∫¿ÌÂÚ· Camera: Yannick Dolivo
◊¯Ô˜ Sound: Jean-François Levillain,
Jean-Michel Béranger
ªÔÓÙ¿˙ Edit: Cédric Zoenen
ªÔ˘ÛÈ΋ Music: Olga Senynets,
Misha Shutko
¶·Ú·ÁˆÁ‹ Production: Pierre Foulon,
Tribu Films
™‡ÓÔ„ËSynopsis
§ÔԇίԂԅ ŒÓ· ͯ·Ṳ̂ÓÔ Ô˘ÎÚ·ÓÈÎfi ¯ˆÚÈfi ‚·ıÂÈ¿ ÛÙËÓ Î·Ú‰È¿ ÙÔ˘ ‰¿ÛÔ˘˜ ÙˆÓ ∫·Ú·ı›ˆÓ Ô˘ ·ÈˆÚÂ›Ù·È Î¿Ô˘ ·Ó¿ÌÂÛ· ÛÙËÓ ·Ô‰fiÌËÛË Ù˘ ÚÒËÓ ™Ô‚ÈÂÙÈ΋˜ ŒÓˆÛ˘ Î·È ÙËÓ
ÚÔÛ¤ÁÁÈÛË Ù˘ Ó¤·˜ ∂˘Úˆ·˚΋˜ ŒÓˆÛ˘.
∆Ô §ÔÔ‡Î¯Ô‚Ô Î·È Ô ÌÔÓ·‰ÈÎfi˜ ÙÔ˘ fiÚÔ˜, Ô ¶Ú¿ÛÈÓÔ˜ ÃÚ˘Ûfi˜ ÙÔ˘: ÙÔ ‰¿ÛÔ˜. ∏ Û¯¤ÛË ÌÂٷ͇
‰¿ÛÔ˘˜ Î·È ·ÓıÚÒÔ˘ Â›Ó·È ÂÚ›ÏÔÎË. ™ÙȘ ̤Ú˜ Ì·˜ ·ÂÈÏÂ›Ù·È ·fi ÙË ‰·ÛÈ΋ ·Ó¿Ù˘ÍË Ô˘
‰ÂÓ ÏÂÈÙÔ˘ÚÁ› ϤÔÓ ÚÔ˜ fiÊÂÏÔ˜ ÙˆÓ ¯ˆÚÈÎÒÓ.
ªÈ· ÌËÙ¤Ú· ÁÂÌ¿ÙË ÊÚÔÓÙ›‰·, ·Ó Î·È Û˘¯Ó¿ ÙËÓ Î·ÎÔÌÂÙ·¯ÂÈÚ›˙ÔÓÙ·È, ÙÔ ‰¿ÛÔ˜ οÔȘ ÊÔÚ¤˜ ηٷ›ÓÂÈ ÎfiÛÌÔ Î·È ÙÔÓ ÊÙ‡ÓÂÈ ¤Ú· ·fi Ù· Û‡ÓÔÚ· Ù˘ √˘ÎÚ·Ó›·˜.
∆Ô §ÔÔ‡Î¯Ô‚Ô Î·È ÔÈ Î¿ÙÔÈÎÔ› ÙÔ˘ –Á˘Ó·›Î˜, ¿ÓÙÚ˜ Î·È ÙÔ Ì¿Ù·ÈÔ Ó‡̷ Ù˘ ·ÓÙ›ÛÙ·Û˘. ŒÓ·
̈۷˚Îfi ˙ˆ‹˜ Ô˘ Û˘Ó¯›˙ÂÙ·È ·ÓÂÍ·Úًو˜ fiψÓ, Û ÌÈ· ¿ÏÏË ∂˘ÚÒË, ÙËÓ ‡·ÚÍË Ù˘ ÔÔ›·˜
·ÏÒ˜ ÂÍ·ÎÔÏÔ˘ıԇ̠ӷ ·ÁÓÔÔ‡ÌÂ.
Lopukhovo... A forgotten Ukrainian village deep in the heart of the Carpathian forest, suspended somewhere between the dismantling of the ex-Soviet Union and the approach of the new
European Union.
Lopukhovo and its sole resource, its green Gold: the forest. The relationship between forest and
man is a complex one. Today, it is threatened by forestry development that no longer works for
the benefit of the villagers.
Nourishing mother, though often mistreated, the forest sometimes swallows men up and spits
them out beyond the borders of Ukraine.
Lopukhovo and its inhabitants – women, men and their poignant spirit of resistance. A mosaic
of life in spite of everything, in another Europe, whose existence we just keep on forgetting.
64
ECOFILMS
ƒ√¢√™
2006
RODOS
Jara Malevez
°ÂÓÓ‹ıËΠÛÙÔ ™Ù·Ó˜ Ù˘ ∂Ï‚ÂÙ›·˜ Î·È ÛÔ‡‰·Û ÛÙÔ Institut des Arts de Diffusion, Louvain-la-Neuve, µÂÏÁÈÔ
(Û¯ÔÏ‹ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘) ·›ÚÓÔÓÙ·˜ Ù˘¯›Ô ÛÙË ÛÎËÓÔıÂÛ›·. ∞fi ÙÔ 2002 ÂÚÁ¿˙ÂÙ·È ˆ˜ ·ÓÂÍ¿ÚÙËÙË ÛÎËÓÔı¤Ù˘.
Born in Stans, Switzerland, she studied at IAD, Institut des Arts de Diffusion, Louvain-la-Neuve, Belgium,
filmschool, getting a diploma in film directing. Since 2002 she is working as an independent filmmaker.
Jara Malevez
22, rue du Collège
1050 Bruxelles
Belgium
Tel: +32 2 502 24 65, +32 478 49 77 08
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Lopukhovo, 57’
2002 Toggeli, 16’
2001 Tout petit à petit, 8’
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 Solothurner Filmtage, Switzerland
Green Film Festival, Seoul, Korea
Caméra des Champs, Ville-sur-Yron,
France
∏ Jara Malevez ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Jara Malevez about her film
∆Ô §ÔÔ‡Î¯Ô‚Ô Â›Ó·È ¤Ó· ͯ·Ṳ̂ÓÔ ¯ˆÚÈfi
ÛÙ· Ô˘ÎÚ·ÓÈο ∫·Ú¿ıÈ·. £¤ÏËÛ· Ó· ۯ‰ȿۈ ¤Ó· ̈۷˚Îfi ·˘ÙÔ‡ ÙÔ˘ ̤ÚÔ˘˜ Î·È ÙˆÓ Î·ÙÔ›ÎˆÓ ÙÔ˘, ¤Ó· ̈۷˚Îfi ÂÈÎfiÓˆÓ Î·È ‹¯ˆÓ:
¯·ÚÔ‡ÌÂÓˆÓ ÙÚ·ÁÔ˘‰ÈÒÓ, ‰¤ÓÙÚˆÓ Ô˘ ¤ÊÙÔ˘Ó, ·ÏÈÒÓ ÛÔ‚ÈÂÙÈÎÒÓ ·ÚÌ¿ÙˆÓ, ·È‰ÈÒÓ
Ô˘ ÁÂÏÔ‡Ó Î·È ÊˆÓÒÓ ‰È·ÊÔÚÂÙÈÎÒÓ ¯ÚˆÌ¿ÙˆÓ Î·È ËÏÈÎÈÒÓ.
∂›Ì·ÛÙ ÌÈ· ÔÌ¿‰· Ó¤ˆÓ ·fi ÙË ¢˘ÙÈ΋ ∂˘ÚÒË Î·È Ë ÚÔÛ¤ÁÁÈÛ‹ Ì·˜ ÛÙÔ ¯ˆÚÈfi Â›Ó·È ·Ôχو˜ ¿ÌÂÛË: ÂÚ·Ù‹Û·Ì ÛÙÔ ¯ˆÚÈfi, ·ÎÔÏÔ˘ı‹Û·Ì ÎfiÛÌÔ, ÙÔ˘˜ ÌÈÏ‹Û·Ì ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ Î·È ÛÙ· Û›ÙÈ· ÙÔ˘˜, ·ÎÔ‡Û·Ì ÙȘ ÈÛÙÔڛ˜
ÙÔ˘˜, ÙȘ ›ÎÚ˜ Î·È Ù· fiÓÂÈÚ¿ ÙÔ˘˜. ¶·Ú·ÙËÚ‹Û·Ì ÙËÓ Î·ıËÌÂÚÈÓfiÙËÙ¿ ÙÔ˘˜, ÙÔ˘˜ Û˘ÓÔ‰¤„·Ì ÛÙËÓ ÂÚÁ·Û›· ÙÔ˘˜, ÙȘ ∫˘ÚȷΤ˜ ÙÔ˘˜ ηÈ
ÙȘ ¢Â˘Ù¤Ú˜ ÙÔ˘˜…
Lopukhovo is a forgotten village in the
Ukrainian Carpathians. I wanted to sketch a
mosaic of this place and its inhabitants, a mosaic of pictures and sounds: joyful songs,
falling trees, old soviet trucks, children’s
laughing and voices of different colour and
age.
We are a young team from Western Europe
and our approach to the village was a very direct one: we walked through the village, followed people, talked to them in the streets
and in their home, listened to their stories,
their sorrows and their dreams. We observed
their everyday life, accompanied them during
their work, their Sundays and Mondays…
ECOFILMS
ƒ√¢√™
2006
RODOS
65
∏ ª∏∆∂ƒ∞ ª√À ™∫√∆ø£∏∫∂ ∞¶√ ∂¡∞¡ ∞¡£ƒø¶√ µ√ªµ∞
MIN MAMMA MÖRDADES AV EN SJÄLVMORDSBOMBARE
MY MOTHER WAS KILLED BY A SUICIDE BOMBER
™Ô˘Ë‰›· Sweden, 2005
¢È¿ÚÎÂÈ· Running time: 43’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Hibiscus Media Group LLC
4710 Grant Street
Hollywood, Florida 33021, US
Tel: +1 954-893-0930, +1 954-605-3011
Fax: +1 360-294-1893
Email: [email protected]
Skype: andylee4710
™Ô˘Ë‰›· Sweden, 2005
¢È¿ÚÎÂÈ· Running time: 43’
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ Director, Script:
Bernt Hermele
ºˆÙÔÁÚ·Ê›·, ◊¯Ô˜, ªÔÓÙ¿˙
Photo, Sound, Edit: Jacek Machula
ªÔ˘ÛÈ΋ Music: Abba, Totta Näslund,
Ebba Forsberg, Bernt Hermele
∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜
Executive Producer: Kajsa Stal
™‡ÓÔ„ËSynopsis
ŒÎ·Ó ‰È·ÎÔ¤˜ ÛÙÔ ·Ú·ı·Ï¿ÛÛÈÔ ı¤ÚÂÙÚÔ ¡ÂÙ¿ÓÈ· ÛÙÔ πÛÚ·‹Ï, fiÙ·Ó Ë 78¯ÚÔÓË ¶¤ÚÏ· äÚÌÂÏ ÛÎÔÙÒıËΠ̷˙› Ì ¿ÏÏ· 29 ·ıÒ· ı‡Ì·Ù· ·fi ÙÔÓ ¿ÓıÚˆÔ ‚fiÌ‚· ∞ÌÓÙ¤Ï ª·Û¿Ï √ÓÙ¤ ÙÔ
2002. ∆ÒÚ·, ÙÚ›· ¯ÚfiÓÈ· ‡ÛÙÂÚ· ·fi ÙË ™Ê·Á‹ ÙÔ˘ ¶¿Û¯· fiˆ˜ Â›Ó·È ÁÓˆÛÙfi ÙÔ Û˘Ì‚¿Ó, Ô ÁÈÔ˜
Ù˘, ÙÈÌ¿ ÙË ˙ˆ‹, ÙÔ Ó‡̷ Î·È ÙË ÌÓ‹ÌË Ù˘ ÌËÙ¤Ú·˜ ÙÔ˘ Ì ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú «∏ ÌËÙ¤Ú· ÌÔ˘ ÛÎÔÙÒıËΠ·fi ¤Ó·Ó ¿ÓıÚˆÔ ‚fiÌ‚·».
™Â ¤Ó· ·ÔÎ·Ï˘ÙÈÎfi Î·È Û˘Ó·ÈÛıËÌ·ÙÈÎfi Ù·Í›‰È Ô˘ ÙÔÓ Ê¤ÚÓÂÈ ÚfiÛˆÔ Ì ÚfiÛˆÔ Ì ÙËÓ ÔÈÎÔÁ¤ÓÂÈ· ÙÔ˘ ÙÚÔÌÔÎÚ¿ÙË √ÓÙ¤, Ô ™Ô˘Ë‰fi˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ Bernt Hermele ·Ó·Û˘ÁÎÚÔÙ› ÙȘ
ÛÙÈÁ̤˜ Ô˘ Ô‰‹ÁËÛ·Ó Î·È Ô˘ ·ÎÔÏÔ˘ı‹Û·Ó ÙË ‚ÔÌ‚ÈÛÙÈ΋ ÂÓ¤ÚÁÂÈ· ÛÙÔ Park Hotel Ù˘ ¡ÂÙ¿ÓÈ·
ÛÙȘ 27 ª·ÚÙ›Ô˘ 2002. ªÂ Û˘ÓÂÓÙ‡ÍÂȘ ÙˆÓ ÚÒÙˆÓ ·ÛÙ˘ÓÔÌÈÎÒÓ, ˘ÚÔÛ‚ÂÛÙÒÓ Î·È ÁÈ·ÙÚÒÓ
Ô˘ ¤ÊÙ·Û·Ó ÛÙÔ ÛËÌ›Ô, Ë Ù·ÈÓ›· ·ÔÙÂÏ› ÌÈ· ÚˆÙÔÁÂÓ‹ ·Ú·Ù‹ÚËÛË ÙÔ˘ fiÓÔ˘, Ù˘ ·ÒÏÂÈ·˜, ÙÔ˘ ı˘ÌÔ‡ Î·È Ù˘ ÎÚ˘Ê‹˜ Û˘ÌfiÓÈ·˜ Ô˘ ÌÔÈÚ¿˙ÔÓÙ·È ÔÈ Û˘ÁÁÂÓ›˜ ÙfiÛÔ ÙÔ˘ ı‡Ì·ÙÔ˜ fiÛÔ
Î·È ÙÔ˘ ı‡ÙË.
She was on vacation in Israel's seaside resort of Netanya when 78 year-old Perla Hermele was
killed with 29 other innocent victims by suicide bomber Abdel Bassat Odeh in 2002. Now, three
years after what is known as the Passover Massacre, her son pays tribute to his mother's life,
spirit and memory in the powerful new documentary, "My Mother Was Murdered by a Suicide
Bomber".
In a revealing and emotional journey that brings him face to face with the family of terrorist
Odeh, Swedish journalist Bernt Hermele pieces together the moments leading up to and following the suicide bombing inside Netanya's Park Hotel on March 27, 2002. Featuring interviews
with the first police, fire and forensic medicine specialist to arrive at the scene, "My Mother Was
Murdered by a Suicide Bomber" is a first-time examination of the pain, loss, anger and hidden
compassion that is shared by the relatives of both victim and killer.
66
ECOFILMS
ƒ√¢√™
2006
RODOS
Bernt Hermele
°ÂÓÓ‹ıËΠÙÔ 1953, ˙ÂÈ ÎÈ ÂÚÁ¿˙ÂÙ·È ÛÙË ™ÙÔίfiÏÌË, ÛÙË ™Ô˘Ë‰›·. ¶·ÓÙÚÂ̤ÓÔ˜ Ì ٤ÛÛÂÚ· ·È‰È¿. Œ¯ÂÈ Ù˘¯›Ô
‰ËÌÔÛÈÔÁÚ·Ê›·˜ ·fi ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ Ù˘ ™ÙÔίfiÏÌ˘. ∂›Ó·È ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ Î·È ÂÚÁ¿˙ÂÙ·È Û ÂÊËÌÂÚ›‰Â˜ ‰Ò
Î·È 30 ¯ÚfiÓÈ· ΢ڛˆ˜ Û ı¤Ì·Ù· ÔÈÎÔÓÔÌÈÎÒÓ ÂȯÂÈÚ‹ÛˆÓ. À‹ÚÍ ÂΉfiÙ˘ ÙÔ˘ ÂȯÂÈÚËÌ·ÙÈÎÔ‡ ÂÚÈÔ‰ÈÎÔ‡
"Veckans affärer". ∞˘Ù‹ ÙË ÛÙÈÁÌ‹ ÂÚÁ¿˙ÂÙ·È ˆ˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ Û ÂȯÂÈÚËÌ·ÙÈο ı¤Ì·Ù· ÛÙÔ ÎÚ·ÙÈÎfi ÊÔÚ¤·
SVT.
Born 1953, lives and works in Stockholm, Sweden. Married with 4 children. He has a degree in journalism at
the Stockholm University. Hermele is a journalist and newspaperman for 30 years with a background in business journalism. He’s been the editor in chief for business magazine "Veckans affärer". Hermele presently
works as a business news reporter at state broadcaster SVT.
Bernt Hermele
Björns trädgardsgränd 3
s-116 21 Stockholm, Sweden
Tel: +46 8 716 33 29, +46 734 444 776
Email: bernt.hermele.nu
Skype: baruch1953
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 Searching for Aaron
2005 My mother was murdered by a
suicide bomber
Totta
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2005 IDFA, Amsterdam
√ Bernt Hermele ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Bernt Hermele about his film
∏ ÌËÙ¤Ú· ÌÔ˘ ÔÓÔÌ·˙fiÙ·Ó ¶¤ÚÏ· äÚÌÂÏÂ.
°ÂÓÓ‹ıËΠÛÙȘ 15 √ÎÙÒ‚ÚË 1923.
™ÎÔÙÒıËΠ·fi ¤Ó·Ó ¿ÓıÚˆÔ ‚fiÌ‚· ÛÙË ¡ÂÙ¿ÓÈ· ÛÙÔ πÛÚ·‹Ï ÛÙȘ 27 ª·ÚÙ›Ô˘ 2002.
◊Ù·Ó 78 ÂÙÒÓ Î·È ¿ÊËÛ ›Ûˆ ‰‡Ô ·È‰È¿, ¤ÍÈ
ÂÁÁfiÓÈ· Î·È ‰‡Ô ‰ÈÛ¤ÁÁÔÓ·.
°È· ÙÚ›· ¯ÚfiÓÈ· ‰ÂÓ ·Û¯ÔÏ‹ıËη ȉȷ›ÙÂÚ· ÌÂ
ÙÔ ÊÚÈÎÙfi ·˘Ùfi Û˘Ì‚¿Ó. ¶ÚÔÊ·ÓÒ˜ ¤ÓıËÛ·
ÙË ÌËÙ¤Ú· ÌÔ˘ fiˆ˜ οı ÁÈÔ˜ ı· ÂÓıÔ‡Û ÙË
ÌËÙ¤Ú· ÙÔ˘. ª· ‰Â ‚ڋη ÔÏϤ˜ Û˘ÁÎÂÎÚÈ̤Ó˜ ÏÂÙÔ̤ÚÂȘ ÁÈ· ·˘Ùfi ηı·˘Ùfi ÙÔ Û˘Ì‚¿Ó.
ÀÔı¤Ùˆ ˆ˜ ‰ÂÓ Â›¯· ÙË ‰‡Ó·ÌË. ª· ‡ÛÙÂÚ·
·fi ÙÚ›· ¯ÚfiÓÈ· Â¤ÛÙÚ„· ÛÙÔ πÛÚ·‹Ï ÁÈ· Ó·
οӈ ¤Ó· ÓÙÔÎÈÌ·ÓÙ¤Ú ÁÈ· ÙËÓ ÙËÏÂfiÚ·ÛË ÁÈ·
ÙÔ Û˘Ì‚¿Ó. ™˘Ó·ÓÙ‹ıËη Â›Û˘ Ì ÙËÓ ÔÈÎÔÁ¤ÓÂÈ· ÙÔ˘ ‚ÔÌ‚ÈÛÙ‹ ÛÙÔ ∆Ô˘ÏÎ·Ú¤Ì Ù˘ ¶·Ï·ÈÛÙ›Ó˘. ∂Ï›˙ˆ Ë Ù·ÈÓ›· Ó· ·ÊÔÚ¿ Î·È Î¿ÔÈÔ˘˜ ·ÎfiÌ·.
My mother's name was Perla Hermele.
She was born on the 15th of October 1923.
She was murdered by a suicide bomber in Netanya in Israel on the 27th of March 2002.
She was 78 years of age and left two children,
six grandchildren and two great-grandchildren.
For three years I have not thought particularly
much about this terrible event. It is obvious
that I have mourned my mother as every son
would mourn his mother. But I have not
found out many particular details about the
event itself. I guess I have not had the
strength. But after three years I went back to
Israel to make a TV-documentary about the
event. I have also met the suicide bomber's
family in Tulkarem in Palestine. Hopefully it
will be of interest to some others.
ECOFILMS
ƒ√¢√™
2006
RODOS
67
ƒ∞¢π√º√µπ∞
RADIOPHOBIA
.πÛ·Ó›· Spain, 2005
¢È¿ÚÎÂÈ· Running time: 53’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Yuliya Bogdanenko
Media Workshop-Luna Pictures
Mauricio Legendre 16, Apt. 2636
28046 Madrid
Spain
Tel: +34 669811801
∂mail: [email protected]
™ÎËÓÔı¤Ù˘ Director: Julio Soto
¶·Ú·ÁˆÁÔ› Producers: Juan Dakas,
Julio Soto
∫¿ÌÂÚ· Camera: Alexander Stikich
Associate Producers: Yuliya Bogdanenko,
A.Stikic, Yuriy Tatarchuck
ªÔÓÙ¿˙, ∂ȉÈο ∂ʤ Edit, FX:
Luna Pictures, Free Your Mind
™‡ÓÔ„ËSynopsis
¶ÚÈÓ ·fi ›ÎÔÛÈ ¯ÚfiÓÈ·, ÙÔÓ ∞Ú›ÏÈÔ ÙÔ˘ 1986, ¤Ó·˜ ¤ÏÂÁ¯Ô˜ ·ÛÊ·Ï›·˜ ÛÙÔ ˘ÚËÓÈÎfi ÂÚÁÔÛÙ¿ÛÈÔ
ÛÙÔ ∆Û¤ÚÓÔÌÈÏ ÛÙËÓ ÚÒËÓ ™Ô‚ÈÂÙÈ΋ ŒÓˆÛË, ÚÔοÏÂÛ ÙË ÌÂÁ·Ï‡ÙÂÚË ÌË-ÛÙÚ·ÙȈÙÈ΋ ˘ÚËÓÈ΋ ηٷÛÙÚÔÊ‹ ÛÙ· ¯ÚÔÓÈο. ∞Ó‹ÌÔÚÔÈ Ó· ·ÓÙÈÌÂÙˆ›ÛÔ˘Ó ·˘Ù‹ ÙËÓ ÔÏÈÙÈ΋, ÂÚÈ‚·ÏÏÔÓÙÈ΋
Î·È ·ÓıÚÒÈÓË Î·Ù·ÛÙÚÔÊ‹, ÔÈ ™Ô‚ÈÂÙÈÎÔ› Û‹ÎˆÛ·Ó ¤Ó· ÙÔ›¯Ô˜ ÛȈ‹˜ ÁÈ· ÙÔ Û˘Ì‚¿Ó. «ƒ·‰ÈÔÊÔ‚›·» ‹Ù·Ó Ô fiÚÔ˜ Ô˘ ÂÚȤÁÚ·Ê ٷ Û˘ÌÙÒÌ·Ù· fiÛˆÓ ˘¤ÊÂÚ·Ó ·fi ÙË Ú·‰ÈÂÓÂÚÁ‹ ÛÎfiÓË, ¤Ó· ›‰Ô˜ ÎÔÈÓˆÓÈÎÔ‡ ÛÙ›ÁÌ·ÙÔ˜. ¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· Û˘ÁÎÈÓËÙÈÎfi ÓÙÔÎÈÌ·ÓÙ¤Ú Ô˘ Á˘Ú›ÛÙËΠÂÍÔÏÔÎÏ‹ÚÔ˘ ÛÙËÓ «··ÁÔÚÂ˘Ì¤ÓË ˙ÒÓË» ÙÔ˘ ∆Û¤ÚÓÔÌÈÏ.
Twenty years ago, on April 26, 1986, a security test at Chernobyl's nuclear plant in the former
Soviet Union, triggered the greatest civilian nuclear catastrophe in history. Unable to cope with
this political, environmental and human disaster, the Soviets built a wall of silence around the
event. The term "radiophobia" came to define the symptoms of the people suffering from the
fallout of the radiation, some kind of social "stigma." "Radiophobia" is a touching documentary
entirely shot in Chernobyl's "Forbidden Zone."
68
ECOFILMS
ƒ√¢√™
2006
RODOS
Julio Soto
√ Julio Soto, ·Ú·ÁˆÁfi˜ Î·È ÛÎËÓÔı¤Ù˘ Ù·ÈÓÈÒÓ, ÂÚÁ¿˙ÂÙ·È Î·È ˙ÂÈ ÛÙË ¡¤· ÀfiÚÎË. √È Ù·Èӛ˜ ÙÔ˘ "Invisible Cities" ηÈ
"Possibility of Utopia" ¤¯Ô˘Ó ·Ó·ÁÓˆÚÈÛÙ› ‰ÈÂıÓÒ˜ ÎÈ ¤¯Ô˘Ó ÎÂÚ‰›ÛÂÈ ‚Ú·‚›· ÛÙ· ÊÂÛÙÈ‚¿Ï: 2005 Toronto Latin
Film Festival, 2005 Rio de Janeiro VideoArt Festival, 2002 Brooklyn International Film Festival, NAP Video Biennial
in Pasadena 2003 Media Arts Festival Japan. ∆Ô ¤ÚÁÔ ÙÔ˘ ¤¯ÂÈ ·ÚÔ˘ÛÈ·ÛÙ› ÂÎÙÂÓÒ˜ Û ÎÈÓËÌ·ÙÔÁÚ·ÊÈο ÊÂÛÙÈ‚¿Ï
fiˆ˜: Clermont-Ferrand, New York Underground Film Festival, Viper Basel, Impakt, Oberhausen, Hamburg, Nemo
and Kasseler Î·È ¿ÏÏ·.
Œ¯ÂÈ Û˘ÓÂÈÛʤÚÂÈ ÙÔ Ù·Ï¤ÓÙÔ Î·È ÙÔ fiÚ·Ì¿ ÙÔ˘ ÛÙË ‰È·Ê‹ÌÈÛË, Ù· ÌÔ˘ÛÈο ‚›ÓÙÂÔ Î·È Ù· ÓÙÔÎÈÌ·ÓÙ¤Ú Û ÂÙ·Èڛ˜ fiˆ˜
McCann Erikson, Propaganda Films, Ogilvy, Bates USA, Grey Advertising Î·È FCB.
Julio Soto
Luna Pictures
Avd. Alfonso XIII, 101 B, 3C Madrid
Spain
Tel: +34 677 683 347
Email: [email protected]
www.lunapictures.com
Julio Soto is a film producer/director who works and lives in New York His films titled "Invisible Cities" and "Possibility of Utopia" have received international recognition and awards at the 2005 Toronto Latin Film Festival, the
2005 Rio de Janeiro VideoArt Festival, the 2002 Brooklyn International Film Festival, the NAP Video Biennial in
Pasadena and the 2003 Media Arts Festival Japan. His work has been shown extensively at film festivals such as
Clermont-Ferrand, New York Underground Film Festival, Viper Basel, Impakt, Oberhausen, Hamburg, Nemo and
Kasseler to name a few.
His talent and vision also plays a key role in advertising, music video and documentary projects for agencies like McCann Erikson, Propaganda Films, Ogilvy, Bates USA, Grey Advertising and FCB.
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Radiophobia
2004 The Possiblity of Utopia
Invisible cities
2002-2003 Zero Gravity
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
ECU European Independent Film Festival
TV Channels: DR2 Denmark, TVE Spain,
Finland, Romania, Ukraine, Italy, Al Jazeera.
µÚ·‚›· Awards
ECU European Independent Film Festival:
Film of the Festival
Best Documentary Feature
Best Cinematography
√ Julio Soto ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Juliio Soto about his film
™ÙËÓ Ù·ÈÓ›· «ƒ·‰ÈÔÊÔ‚›·» ÚÔÛ¿ıËÛ· Ó· ‰ËÌÈÔ˘ÚÁ‹Ûˆ ¤Ó· Û˘ÁÎÈÓËÙÈÎfi ¤ÚÁÔ ÛÙÔ ÔÔ›Ô Ë ·ÓÙ›ÛÙÈÍË ÙÚ·ÁÈÎÒÓ ÔÙÈÎÔ·ÎÔ˘ÛÙÈÎÒÓ ÈÛÙÔÚÈÒÓ
ı· ·Ú›¯Â ÌÈ· ÂÍ›ÛÔ˘ ÔÈËÙÈ΋ Î·È ÂÓËÌÂÚˆÙÈ΋
¿Ô„Ë ÁÈ· ÙȘ ÚÔÎÏ‹ÛÂȘ Ù˘ ˘ÚËÓÈ΋˜ ÂÓ¤ÚÁÂÈ·˜ Û‹ÌÂÚ·. ◊ıÂÏ· Â›Û˘ Ó· ·ÊËÁËıÒ ÙȘ ·Ó›ˆÙ˜ ÈÛÙÔڛ˜ ÂÎÂ›ÓˆÓ Ô˘ ˘‹ÚÍ·Ó Ì¿ÚÙ˘Ú˜
ÙˆÓ ·Ù˘¯‹Ì·ÙÔ˜, ÂÎÂ›ÓˆÓ Ô˘ ˘¤ÊÂÚ·Ó Î·È Ô˘
ı· ÙÔ ı˘ÌÔ‡ÓÙ·È ÁÈ· fiÛÔ ˙Ô˘ÓØ ÂÎÂ›ÓˆÓ Ô˘ ηÙËÁÔÚ‹ıËÎ·Ó Î·È ÂÎÂ›ÓˆÓ Ô˘ ÙÂÏÈο ‹Ù·Ó ˘‡ı˘ÓÔÈ.
∏ Ù·ÈÓ›· Â›Ó·È Â›Û˘ ¤Ó· Û˘ÁÎÈÓËÙÈÎfi Î·È ‰˘Ó·Ùfi
ÔÙÈÎÔ·ÎÔ˘ÛÙÈÎfi ¤ÚÁÔ fiÌÔÚÊˆÓ Î·È ˘Ô‚ÏËÙÈÎÒÓ ÂÈÎfiÓˆÓ, Ô˘ ÂÓÈÛ¯‡ıËÎ·Ó Î·È ·Ó·‰Â›¯ıËÎ·Ó ¯¿ÚË ÛÙËÓ ÌÂÙ¤ÂÈÙ· ÂÂÍÂÚÁ·Û›· ÙÔ˘˜ Ì Ù¯ÓÔÏÔÁ›· ·È¯Ì‹˜.
In "Radiophobia", I strived at creating a moving
work in which the juxtaposition of poignant audio-visual stories offers both a poetical and informed opinion about the challenges of nuclear
energy today. I also wanted to tell the untold stories of those who witnessed the accident; of
those who suffered and will remember it for the
rest of their lives; of those who were blamed and
those who were actually responsible.
The film is also a moving and powerful audiovisual work of beautiful and evocative imagery,
enhanced and supported by cutting edge postproduction.
ECOFILMS
ƒ√¢√™
2006
RODOS
69
RAIN FOREST: ™¶√ƒ√π ∆∏™ ∑√À°∫§∞™
RAIN FOREST: SEMILLAS DE SELVA
RAIN FOREST: JUNGLE SEEDS
πÛ·Ó›· Spain, 2004
¢È¿ÚÎÂÈ· Running time: 52’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Carlos Sevillano
Explora Films, S.L.
C/ Francisca Delgado, 11
Edificio A, 4a Planta
Spain
Tel: +34 91 490 11 50
Fax: +34 91 490 37 61
Email: [email protected]
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ªÔÓÙ¿˙
Director, Script, Edit:
Fernando Gonzãalez Sitges
¶·Ú·ÁˆÁÔ› Producers: Oscar Portillo,
Luis Gonzãalez-Iglesias
∫¿ÌÂÚ· Camera: Gerardo Olivares
ªÔ˘ÛÈ΋ Music: Santi Vega
∞Ê‹ÁËÛË Narration: Stephen Hughes,
Kurt Scheller, Craig Stevenson, √scar Ybarra,
José Luis Mart›nez Gutiérrez,
Ramfin Cam›n,
¢È¢ı˘ÓÙ‹˜ ·Ú·ÁˆÁ‹˜
Production Director: Pablo Meliveo,
Laura Casamayor
°Ú·ÊÈο Graphics: Carlos Ruiz De La Prada
™‡ÓÔ„ËSynopsis
ªÈ· Ó¤· ÂÏ›‰· ÁÈ· Ù· ·ÂÈÏÔ‡ÌÂÓ· Ì ÂÍ·Ê¿ÓÈÛË Â›‰Ë ÙÔ˘ Ï·Ó‹ÙË ÁÂÓÓÈ¤Ù·È Ì¤Û· ÛÙȘ fiÏÂȘ. «√È
™fiÚÔÈ Ù˘ ∑Ô‡ÁÎÏ·˜» Â›Ó·È ¤Ó· ÓÙÔÎÈÌ·ÓÙ¤Ú Ô˘ ı· Ì·˜ ·ÚÔ˘ÛÈ¿ÛÂÈ ÙÔ˘˜ ˙ˆÔÏÔÁÈÎÔ‡˜ ΋Ô˘˜ ÂÍÔÌÔ›ˆÛ˘ Ê˘ÛÈÎÔ‡ ÂÚÈ‚¿ÏÏÔÓÙÔ˜, ¤Ó· Ó¤Ô ÙÚfiÔ ıÂÒÚËÛ˘ ÙˆÓ ˙ˆÔÏÔÁÈÎÒÓ Î‹ˆÓ.
ªÂ ÙË ‚Ô‹ıÂÈ· ÌÈ·˜ ÔÌ¿‰·˜ ÌÂÙ·ÊÂÚfiÌÂÓˆÓ ÁÔÚÈÏÒÓ ·fi ÙÔÓ ˙ˆÔÏÔÁÈÎfi ΋Ô ÙÔ˘ ƒfiÙÂÚÓÙ·Ì, ı· ·Ó·Î·Ï‡„Ô˘Ì ÙËÓ ÔÏ˘ÏÔÎfiÙËÙ· ·˘ÙÒÓ ÙˆÓ ¿ÚÎˆÓ fiÔ˘ ·Ú·ÎÔÏÔ˘ıÔ‡Ó Ù· ˙Ò· Ô˘ ˙Ô˘Ó Û¯Â‰fiÓ ÂχıÂÚ· Û ¤Ó· ÂÚÈ‚¿ÏÏÔÓ ·ÚfiÌÔÈÔ Ì ÙÔ Ê˘ÛÈÎfi ÙÔ˘˜ ÂÚÈ‚¿ÏÏÔÓ.
ªÂ ÙÔ˘˜ ʇϷΘ, ÙÔ˘˜ ˙ˆÔÏfiÁÔ˘˜ Î·È ÙÔ˘˜ ÎÙËÓÈ¿ÙÚÔ˘˜ ı· ÏËÛÈ¿ÛÔ˘Ì ·Ú¿ÍÂÓ· ˙Ò· Ô˘ ı· Ì·˜
οÓÔ˘Ó Ó· ηٷϿ‚Ô˘Ì ÙËÓ ÔÏ˘ÏÔÎfiÙËÙ· ·˘ÙÒÓ ÙˆÓ ˙Ô‡ÁÎÏˆÓ Ô˘ ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÛÙËÓ Î·Ú‰È¿ Ù˘ fiÏË˜Ø ÙËÓ ÚfiÎÏËÛË ÙÔ˘ Ó· Á›ÓÂÈ Î·Ù·ÓÔËÙfi ÛÙÔ˘˜ ÂÈÛΤÙ˜ Ô ÏÔ‡ÙÔ˜ fiÛˆÓ ·ÚÔ˘ÛÈ¿˙ÔÓÙ·ÈØ fiÛÔ ÂÈΛӉ˘ÓÔ Â›Ó·È Ó· ‰ËÌÈÔ˘ÚÁËı› ¤Ó·˜ ˙ˆÔÏÔÁÈÎfi˜ ΋Ô˜ fiÔ˘ ı· Ú¤ÂÈ Ô ÂÈÛΤÙ˘ Ó·
ÌÂÙ·ÎÈÓËı› ÛÙ· ÂÓ‰fiÙÂÚ· ‰È·ÊÔÚÂÙÈÎÒÓ ˙Ô‡ÁÎÏˆÓ ÙÔ˘ ÎfiÛÌÔ˘ Î·È Ó· ÂÚÈ̤ÓÂÈ ˘ÔÌÔÓÂÙÈο Ó· ·Ó·Î·Ï‡„ÂÈ Ù· ‰È¿ÊÔÚ· Ï¿ÛÌ·Ù· Ô˘ ¢‰ÔÎÈÌÔ‡Ó ·Ó¿ÌÂÛ· ÛÙȘ ÛÎȤ˜.
¢ÂÓ ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· Û˘ÓËıÈṲ̂ÓÔ ˙ˆÔÏÔÁÈÎfi ΋Ô. ∂›Ó·È ÌÈ· ÚfiÛÎÏËÛË ÛÙËÓ Î·Ú‰È¿ Ù˘ ˙Ô‡ÁÎÏ·˜.
∫·È ÌÈ· ·ÓÔȯً fiÚÙ· ÛÙËÓ ÂÏ›‰· ÙˆÓ ·ÂÈÏÔ‡ÌÂÓˆÓ Ì ÂÍ·Ê¿ÓÈÛË ÂȉÒÓ Ô˘ ˙Ô˘Ó ÂΛ.
A new hope to the most engendered species of the planet is born inside the cities. "Jungle Seeds" is a
documentary film that will introduce us to the zoo-immersion, a new way of understanding the zoos.
Making use of a group of gorillas’ transfer coming from the Rotterdam’s zoo, we will discover the
complexity of those parks where they are looking for the animals living in an ambiance of semi-liberty similar to their original habitats.
With the keepers, zoologists and veterinaries we will get close to strange animals that will make us
understand the complexity of these jungles created in the core of a city; the challenge of making understand to the visitants the richness of what is shown there; how hazardous is to open a zoo where
the visitant is who must move to the inner part of the different jungles of the world and stand patiently to discover the different creatures that thrive among the shades.
This is not a conventional zoo. It is an invitation at the core of the jungle. And an open door for hope
to the most endangered species that inhabit it.
70
ECOFILMS
ƒ√¢√™
2006
RODOS
Fernando Gonzãalez Sitges
√ Fernando Gonzãalez Sitges ÁÂÓÓ‹ıËΠÛÙË ª·‰Ú›ÙË, ÛÙȘ 12 π·ÓÔ˘·Ú›Ô˘ 1961. ™Ô‡‰·Û ‚ÈÔÏÔÁ›· Ì Âȉ›Î¢ÛË ÛÙË ˙ˆÔÏÔÁ›·. ™Ù· ÙÂÏÂ˘Ù·›· ¤ÙË ÙˆÓ ÛÔ˘‰ÒÓ ÙÔ˘ ¿Ú¯ÈÛ ӷ ÁÚ¿ÊÂÈ Ù· ÚÒÙ· ÙÔ˘ ÛÂÓ¿ÚÈ· ÁÈ· ÓÙÔÎÈÌ·ÓÙ¤Ú
Î·È Ó· ˙ˆÁÚ·Ê›˙ÂÈ ÁÈ· ‚È‚Ï›· Î·È ÙËÏÂÔÙÈΤ˜ ‰È·ÊËÌ›ÛÂȘ. ªÂÙ¿ ÙËÓ ÔÏÔÎÏ‹ÚˆÛË ÙˆÓ ÛÔ˘‰ÒÓ ÙÔ˘, ÂÚÁ¿ÛÙËΠÛÙË ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ∂ıÓÈÎÔ‡ ∫¤ÓÙÚÔ˘ ¢Â‰ÔÌ¤ÓˆÓ ¶ÂÚÈ‚·ÏÏÔÓÙÈ΋˜ ∂Î·›‰Â˘Û˘ Î·È ›‰Ú˘Û ÙËÓ ÚÒÙË ÙÔ˘
ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜, Ecofor.
¢‡Ô ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ· Û˘ÌÌÂÙ¤¯ÂÈ Û ¤Ó· Ù·Í›‰È ηٿ Ì‹ÎÔ˘˜ Ù˘ ·ÌÂÚÈοÓÈ΢ Ë›ÚÔ˘ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· Ù˘
ÛÂÈÚ¿˜ ÓÙÔÎÈÌ·ÓÙ¤Ú "The route of the Cordobas". ∂ÈÛÙÚ¤ÊÔÓÙ·˜ ÛÙËÓ πÛ·Ó›·, ›‰Ú˘Û Ì οÔÈÔ˘˜ ·fi ÙÔ˘˜
Û˘ÓÔ‰ÔÈfiÚÔ˘˜ ÙÔ˘ ÙËÓ ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜ Transglobe Films. ∂ÚÁ¿ÛÙËΠÂΛ ÁÈ· ‰Ò‰Âη ¯ÚfiÓÈ· ˆ˜ ÛÎËÓÔı¤Ù˘ Î·È ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜.
∆Ô 2004 ·ÔÊ·Û›˙ÂÈ Ó· ȉڇÛÂÈ ÌÈ· Ó¤· ÂÙ·ÈÚ›· Ì ‰‡Ô Û˘ÓÂÚÁ¿Ù˜ ÙÔ˘ ·fi ÙËÓ Transglobe, ÙËÓ ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜ Explora Films ÛÙËÓ ÔÔ›· ÂÚÁ¿˙ÂÙ·È Û‹ÌÂÚ·. ™Â ·˘Ù‹ ÙË Ó¤· ÂÙ·ÈÚ›·, Ì·˙› Ì ٷ ÓÙÔÎÈÌ·ÓÙ¤Ú ÙÔ˘, ÂÙÔÈÌ¿˙ÂÈ ÙËÓ ÚÒÙË ÙÔ˘ Ù·ÈÓ›· ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜.
Fernando Gonzãalez Sitges
C/ Francisca Delgado, 11
Edificio A, 4a Planta
Spain
Tel: +34 91 490 11 50
Fax: +34 91 490 37 61
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
The Route of the Cordobas, 8x30’
The Route of the Explorers, 13x30’
The Alternative Route ,13x60’
The Lost Paradises, 13x30’
Lost Worlds II, 13x30’
The Third Planet I, 13x30’
The Third Planet II, 13x30’
The Route of Samarkanda, 13x30’
Adaptation, 3x60’
Lost World, 26x60’
The Keepers of the Planet, 13x60’
Survivors of the Planet Earth, 13x30’
South Georgia: Life Under furious 50Æ, 52’
The Kraken Project: Searching the Giant
Squid, 52’
Candidates to Extinction, 3x52’
The War of the Tiger, 1x52’
Graves without a name, 26’
Rain Forest: Jungle Seeds, 52’
Learning the Game of Life, 52’
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
Fernando Gonzãalez Sitges was born in Madrid, on January 12th, 1961. He studied Biology majoring in
Zoology. During his last University years he started writing his first documentaries scripts and drawing for
books and TV commercials. After completing his studies, he worked on the making of the National Centre of
Environmental Education Database and established his first production company, Ecofor.
Two years later he undertakes a one year trip across the American continent to shoot the documentary series
"The route of the Cordobas". After returning to Spain, he established, with some of his travel mates, the
production company Transglobe Films. He worked there for the following twelve years directing and
scriptwriting.
In 2004 he decides to found a new company with other two partners from Transglobe, Explora Films,
Production Company where he works nowadays. In this new company, together with his documentaries, he
is developing his first feature length.
√ Fernando Gonzãalez Sitges
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Fernando Gonzãalez Sitges
about his film
∆ËÓ ÚÒÙË ÊÔÚ¿ Ô˘ ÂÈÛΤÊÙËη ÙËÓ ÂÙ·ÈÚ›·
Rain Forest Î·È ÌÔ˘ Ì›ÏËÛ·Ó ÁÈ· ·˘Ùfi ÙÔ Ó¤Ô
ÙÚfiÔ ıÂÒÚËÛ˘ ÙˆÓ ˙ˆÔÏÔÁÈÎÒÓ Î‹ˆÓ, ‰ÂÓ
ÌÔÚÔ‡Û· Ó· ÚԂϤ„ˆ ˆ˜ ı· ÁÈÓfiÌÔ˘Ó ÙfiÛÔ ÌÂÁ¿ÏÔ˜ ı·˘Ì·ÛÙ‹˜ ·˘ÙÔ‡ ÙÔ˘ Ó¤Ô˘ ÙÚfiÔ˘ ÂÓÂÚÁÔ‡˜ ‰È·Ù‹ÚËÛ˘: ÙˆÓ ˙ˆÔÏÔÁÈÎÒÓ
΋ˆÓ ÂÍÔÌÔ›ˆÛ˘ Ê˘ÛÈÎÔ‡ ÂÚÈ‚¿ÏÏÔÓÙÔ˜.
∏ ·Ó·Î¿Ï˘„Ë ·˘Ù‹ ‰ÂÓ ÂÈÙ‡¯ıËΠ̠ٷ ÏfiÁÈ· Ì· Ì ÌÈ· Â›ÛÎÂ„Ë ÛÙÔ ∑ˆÔÏÔÁÈÎfi ∫‹Ô
ºÔ˘ÂÓÁÎÈÚfiÏ, ÙÔ ÚÒÙÔ ›ڷ̷ Ù˘ ÂÙ·ÈÚ›·˜
Rain Forest Î·È ÙÔÓ ÚÒÙÔ ˙ˆÔÏÔÁÈÎfi ΋Ô ·Ó¿Ï·Û˘ Ê˘ÛÈÎÔ‡ ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ÛÙËÓ ∂˘ÚÒË. ∏ ÂÌÂÈÚ›· ‹Ù·Ó ·Í¤¯·ÛÙË. °È· ÚÒÙË
ÊÔÚ¿ Î·È ¤¯ÔÓÙ·˜ ÎÈÓËÌ·ÙÔÁÚ·Ê‹ÛÂÈ ‰¿ÛË
ÛÙȘ ¤ÓÙ Ë›ÚÔ˘˜, ‚˘ı›ÛÙËη Û ÌÈ· ˙Ô‡ÁÎÏ·
Ô˘ ·ÏÒÓÂÙ·È ÛÙËÓ Î·Ú‰È¿ ÌÈ·˜ fiÏ˘.
The first time I visited the Rain Forest Company and they talked to me about this new way
of understanding zoos I could not even guess
that I would become an unconditional admirer of this new way of active conservationism:
zoo immersion.
This discovery did not happened through
speeches but visiting the Fuengirola Zoo: the
first Rain Forest’s experiment and the first immersion zoo in Europe. The experience was
unforgettable. For the first time and after filming forests from the five continents, I totally
entered in a jungle that spreads in the core of
a city.
ARTE (France & Germany)
TVE (Spain)
Odisea (Spain & Portugal)
Canal 6 (Puerto Rico)
TVE International (Satellite)
ECOFILMS
ƒ√¢√™
2006
RODOS
71
™∞∆π§∞
ROND-POINT CHATILA / ROUNDABOUT CHATILA
°·ÏÏ›·, §›‚·ÓÔ˜
France, Lebanon, 2004
¢È¿ÚÎÂÈ· Running time: 52’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Les Films d'Ici
12 rue Clavel
75019 Paris
France
Tel: +33 1 44 52 23 23
Fax: +33 1 44 52 23 24
Email : [email protected]
www.lesfilmsdici.fr
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ∫¿ÌÂÚ·
Director, Script, Camera:
Maher Abi Samra
ªÔÓÙ¿˙ Edit: Dominique Paris
◊¯Ô˜ Sound: Moncef Taleb
¶·Ú·ÁˆÁÔ› Production: Bénédicte Félix,
Charlotte Uzu, Cécile Peyre
™‡ÓÔ„ËSynopsis
™Ùo ÛÙÚ·ÙfiÂ‰Ô ™·Ù›Ï· ÛÙÔ §›‚·ÓÔ ‰È·Ì¤ÓÔ˘Ó ¶·Ï·ÈÛÙ›ÓÈÔÈ ÚfiÛÊ˘Á˜ οو ·fi ÂÈÛÊ·Ï›˜
Û˘Óı‹Î˜. ª¤Ûˆ ‰‡Ô ¯·Ú·ÎÙ‹ÚˆÓ, Ô ÛÎËÓÔı¤Ù˘ ı¤ÏÂÈ Ó· ·Ôηχ„ÂÈ ÙȘ ÂÓÙ¿ÛÂȘ Ô˘ ÛÙÔȯÂÈÒÓÔ˘Ó ÙÔ ÛÙÚ·ÙfiÂ‰Ô Î·È fiÛÔ˘˜ ˙Ô˘Ó ÂΛ. √ 38¯ÚÔÓÔ˜ Halime, ÚÒËÓ Ì¤ÏÔ˜ Ù˘ º·Ù¿¯ Î·È ÁËÁÂÓ‹˜ Ù˘ ™·Ù›Ï· ÂÌ„˘¯ÒÓÂÙ·È ·fi ÙË ‰ÈÂΉ›ÎËÛË. √ Abu Kamal, 75 ÂÙÒÓ, ÚfiÛÊ˘Á·˜ ·fi ÙÔ 1965
̤ÓÂÈ ÎÏÂÈṲ̂ÓÔ˜ ÛÙÔ ‰È·Ì¤ÚÈÛÌ¿ ÙÔ˘. ∫·È ÔÈ ‰‡Ô ¤¯Ô˘Ó ·ÁÈ‰Â˘Ù› ·Ó¿ÌÂÛ· ÛÙËÓ ˘Ô¯ÚˆÙÈ΋ ÂÍÔÚ›· Î·È ÙËÓ ·‰‡Ó·ÙË ÂÓۈ̿وÛË, ·Ó¿ÌÂÛ· ÛÙÔ ·ÚÂÏıfiÓ Î·È ÙÔ ·ÚfiÓ, ·Ó¿ÌÂÛ· ÛÙËÓ ·fiÚÚÈ„Ë Ù˘ ™·Ù›Ï· Î·È ÙÔ ‰ÂÛÌfi ÙÔ˘˜ Ì ÙÔ ÛÙÚ·Ùfi‰Ô.
√ ÎfiÌ‚Ô˜ ™·Ù›Ï· Â›Ó·È ¤Ó· ·fi Ù· ÈÔ Ó¢ڷÏÁÈο ÛËÌ›· ÙÔ˘ ÛÙÚ·ÙÔ¤‰Ô˘, fiÔ˘ Û˘Ó·ÓÙÒÓÙ·È
·ÚÎÂÙÔ› ‰ÚfiÌÔÈ. ™ÙÔÓ ÎfiÌ‚Ô ™·Ù›Ï· ‚Ú›ÛÎÂÙ·È Â›Û˘ ÙÔ Î˘Ú›ˆ˜ ÓÂÎÚÔÙ·ÊÂ›Ô ÙˆÓ ¶·Ï·ÈÛÙÈÓ›ˆÓ. ∏
Ù·ÈÓ›· ·˘Ù‹ Â›Ó·È ·ÎÚÈ‚Ò˜ ÌÈ· ÈÛÙÔÚ›· ¿Ï˘ ÌÂٷ͇ ÙÔ˘ ·ÚÂÏıfiÓÙÔ˜ Î·È ÙÔ˘ ·ÚfiÓÙÔ˜.
Chatila Camp in Lebanon is a place where the Palestinian refugees live under precarious conditions. Through two characters, the director wishes to reveal the tensions which haunt the camp
and its inhabitants. Native of Chatila, former Fatah member, 38 years old Halime is animated by
the claim. Abu Kamal, 75 years, refugee since 1965, stay recluse in his apartment. They are both
stuck between forced exile and impossible integration, between history and present, between
rejection of Chatila and attachment to the camp.
Roundabout Chatila is one of the nervous center of the camp, with the crossing of several road
axes. Roundabout Chatila is also the main cemetery for Palestinian people. Roundabout Chatila,
this is precisely a history of struggle between past and present.
72
ECOFILMS
ƒ√¢√™
2006
RODOS
Maher Abi Samra
ŒÓ·˜ ·ÓÂÍ¿ÚÙËÙÔ˜ ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú. ∆Ô ¤ÚÁÔ ÌÔ˘ ¤¯ÂÈ ·ÚÔ˘ÛÈ·ÛÙ› Û ‰È¿ÊÔÚ· ‰ÈÂıÓ‹ ÙËÏÂÔÙÈο ‰›ÎÙ˘· fiˆ˜: arte, CBS Î·È RTF. ∂›Û˘ Û ‰È¿ÊÔÚ· ÎÈÓËÌ·ÙÔÁÚ·ÊÈο ÊÂÛÙÈ‚¿Ï fiˆ˜: IDFA, √ÏÏ·Ó‰›·, Tokyo
Film Festival, π·ˆÓ›· Î·È ÛÙÔ Mediterranean Film Festival, πÙ·Ï›·.
An Independent Documentary Director. My work has been exhibited on various worldwide TV networks such
as, arte, CBS and RTF. Also in various film festivals like, IDFA, Holland, Tokyo Film Festival, Japan and in the
Mediterranean Film Festival, Italy.
Maher Abi Samra
Kurnish Al-Mazra, Jublat St, Arbid Building
Beirut, Lebanon
Tel: + 961(0) 3-916896 (Lebanon)
Tel: +336(0)6-15019336 (France)
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2004 Roundabout Chatila, 52’
2003 My Friend, 7’
2001 Being in Palestine
2000 Women of Hizballah, 50’
1997 Aging on Sea Waves, 26’
1994 Chronicle of returning, 52’
√ Maher Abi Samra
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
Paris, Festival du Réel
Chicago Palestine Film festival
Festival de Beyrouth
Cinémed
Arte Eas, New York
Amiens
Nantes, Trois continents
Leipzig
Maher Abi Samra about his film
™ÙË ™·Ù›Ï·, ˆ˜ ÚfiÛÊ˘Á·˜, ‰ÂÓ ˙ÂȘ ·ÏÒ˜ ¯ˆÚ›˜ ‰ÈηÈÒÌ·Ù·, ηٷ‰ÈηṲ̂ÓÔ˜ ÛÙË ÊÙÒ¯ÂÈ·
Î·È ÛÙËÓ ·È¯Ì·ÏˆÛ›·, Ì· ‚ÈÒÓÂȘ Î·È ÙËÓ ¿ÚÓËÛË Ù˘ ηٿÛÙ·Û‹˜ ÛÔ˘Ø ·ÎfiÌ· Î·È Ë ‰ÈÂΉ›ÎËÛË ÙˆÓ ‰ÈÎ·ÈˆÌ¿ÙˆÓ ÛÔ˘ ÌÔÚ› Ó· ıˆÚËı›
·ÓÙÈ·ÙÚȈÙÈ΋ Ú¿ÍË Î·È ÂÈı˘Ì›·. ¶Ú¤ÂÈ Ó·
Â›Û·È ·ÏÒ˜ ¤Ó·˜ ÚfiÛÊ˘Á·˜ Ô˘ ÂÈı˘Ì› ηÈ
ÂÚÈ̤ÓÂÈ ÙËÓ ÂÈÛÙÚÔÊ‹ ÙÔ˘ ÛÙËÓ ¶·Ï·ÈÛÙ›ÓË.
∆Ô ÌfiÓÔ ÛÔ˘ ‰Èη›ˆÌ· ÙÂÏÈο Â›Ó·È Ó· ÂÚÈ̤ÓÂȘ.
In Chatila, as a refugee, you are not only without rights and condemned to poverty and
captivity, but also the refusal of your condition and the claim of your rights could be reproached to you as being a non-patriotic act
and desire. You must only be a refugee who
wishes and awaits the return to Palestine. Your only right is finally to wait.
ECOFILMS
ƒ√¢√™
2006
RODOS
73
∏ ∫√πªøª∂¡∏ ¡∏™√™
LA ISLA DURMIENTE / THE SLEEPING ISLAND
πÛ·Ó›· Spain, 2005
¢È¿ÚÎÂÈ· Running time: 59’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
David Mart›n de los Santos
C/Marqués del Vasto NÆ 11, 6Æ izq
Madrid 28003
Spain
Tel: +34626689308, +34915060992
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·, ™ÂÓ¿ÚÈÔ,
∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜, ¶·Ú·ÁˆÁfi˜
Director, Camera, Script,
Executive Producer, Producer:
David Mart›n de los Santos
ªÔÓÙ¿˙ Edit: Alejandro Jaquotot,
Irlanda Tambascio
°Ú·ÊÈο Graphics: Nathalie Simonethi
◊¯Ô˜ Sound: Ramfin Rico,
David Mart›n de los Santos
74
™‡ÓÔ„ËSynopsis
√È ·˘Ù·¿Ù˜, ÔÈ ÂÏ›‰Â˜ Î·È Ë ›ÛÙË Â›Ó·È Ù· fiÏ· Ô˘ ‰ËÌÈÔ˘ÚÁԇ̠ÁÈ· Ó· ÂÈ‚ÈÒÛÔ˘ÌÂ ÙˆÓ Î·ÎÔÙ˘¯ÈÒÓ. ∏ ıÚËÛΛ·, ÔÈ ÚÔÏ‹„ÂȘ Î·È Ë Ù¤¯ÓË Â›Ó·È Ù· ‰›· fiÔ˘ ÌÔÚԇ̠ӷ ·Ó·Ù‡ÍÔ˘ÌÂ
ÙȘ ȉ¤Â˜ Ô˘ Á¤ÓÓËÛÂ Ë Ê·ÓÙ·Û›· Ì·˜ ÁÈ· Ó· ηٷÔÏÂÌ‹ÛÂÈ ÙÔÓ fiÓÔ. √ ∫Ô˘‚·Ófi˜ ÔÏ›Ù˘ ›ӷÈ
¤Ó·˜ ÔÓÂÈÚÔfiÏÔ˜, Î·È Ë Ù·ÈÓ›· ·˘Ù‹ ÚÔÛ·ı› Ó· Ù·Íȉ¤„ÂÈ ÛÙËÓ ·ÏËıÈÓ‹ ∫Ô‡‚·, ÌÈ· ¯ÒÚ· ÙfiÛÔ ·ÏËıÈÓ‹ fiÛÔ Ù· fiÓÂÈÚ¿ Ù˘.
Illusion, hopes, and faith are weapons that we create to survive in the face of adversity. Religion,
superstition and art are spaces where we can develop the concepts created by our imagination
to fight suffering. The Cuban citizen is a dreamer, and this film attempts to make a trip towards
a real Cuba, as real as its dreams.
ECOFILMS
ƒ√¢√™
2006
RODOS
David Mart›n de los Santos
«∏ ÎÔÈÌÒÌÂÓË Ó‹ÛÔ˜» Â›Ó·È ÙÔ ÚÒÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú ÙÔ˘ David Mart›n de los Santos (ª·‰Ú›ÙË, 1973). ∆Ô 2004
ÛÎËÓÔı¤ÙËÛ ÙË ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ Ù·ÈÓ›· "Llévame a otro sitio" Ô˘ ΤډÈÛ 43 ‚Ú·‚›· Û ‰È¿ÊÔÚ· ÂıÓÈο ηÈ
‰ÈÂıÓ‹ ÊÂÛÙÈ‚¿Ï. ∆ÔÓ π·ÓÔ˘¿ÚÈÔ ÙÔ˘ 2006 ÔÏÔÎÏ‹ÚˆÛ ÙË ‰Â‡ÙÂÚË ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ Ù·ÈÓ›· ÙÔ˘, "En el hoyo", Ù˘
ÔÔ›·˜ ÙÔ ÛÂÓ¿ÚÈÔ Î¤Ú‰ÈÛ ÙÔ ‚Ú·‚Â›Ô Î·Ï‡ÙÂÚÔ˘ ÛÂÓ·Ú›Ô˘ ÛÙÔ National Festival of Short Films of Pamplona
2004 Î·È ÌÈ· ‡ÊËÌÔ ÌÓ›· ÛÙÔ Medina del Campo Spanish Short Film Festival 2005.
"Sleeping island" is the first documentary film of David Mart›n de los Santos (Madrid, 1973). In 2004 he
directed the short film "Take me somewhere else", that has obtained more than 43 awards in different
national and international festivals. In January 2006 he has just finished "En el hoyo", his second work as a
short film director, which script obtained the Best Script Award in National Festival of Short Films of
Pamplona 2004 and a special mention of the jury in Medina del Campo Spanish Short Film Festival 2005.
David Mart›n de los Santos
C/Marqués del Vasto NÆ 11, 6Æ izq
Madrid 28003
Spain
Tel: +34626689308, +34915060992
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 In the hole
2005 The Sleeping island
2004 Take me Somewhere Else
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
~ol de
2006 8o Festival de Cine Espan
Mãalaga
3o Festival Internacional de
documentales de Madrid,
DOCUMENTAMADRID
2005 5a muestra de documentales
de América Latina,
Albacete Documental
Festival de documentales
de Espiello 2005
Muestra Internacional del
Documental Independiente,
Cadiz.doc 22.Dokfest,
Slovenia Alcine 35.
Festival de Alcalãa de Henares
√ David Mart›n de los Santos
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
David Mart›n de los Santos
about his film
√ÚÈṲ̂Ó˜ ÊÔÚ¤˜, fiÙ·Ó Ì ڈÙÔ‡Ó ÁÈ· ÙËÓ ∫Ô‡‚·, ··ÓÙÒ ˆ˜ Ë ∫Ô‡‚· Â›Ó·È Ù·˘Ùfi¯ÚÔÓ· ¤Ó·
¯·ÌfiÁÂÏÔ ÎÈ ¤Ó· ‰¿ÎÚ˘.
Sometimes, when people ask me about Cuba, I
respond by saying that Cuba is a smile and a tear
at the same time.
ECOFILMS
ƒ√¢√™
2006
RODOS
75
ªπ∫ƒ√¶π™∆ø™∏
SMALL CHANGE, BIG BUSINESS
√ÏÏ·Ó‰›·
The Netherlands, 2005
¢È¿ÚÎÂÈ· Running time: 54’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
MovieTron
P.O.Box 11765
1001 GT Amsterdam
∆he Netherlands
Tel: +31 20 638 5013
Fax: +31 20 620 6782
Email: [email protected]
www.movietron.nl
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ∂ÎÙ¤ÏÂÛË
¶·Ú·ÁˆÁ‹˜, Director, Script,
Executive Producer: Mark Aardenburg
∫¿ÌÂÚ· Camera: Rob IJsbrandij
ªÔÓÙ¿˙ Edit: Noel van Rens,
Robin van Erven Dorens
ªÔ˘ÛÈ΋ Music: Patriot Hills
∞Ê‹ÁËÛË Narration: Michael Harrigan
ŒÚ¢ӷ Research: Frans Tilstra
◊¯Ô˜ Sound: Marjo Postma
™‡ÓÔ„ËSynopsis
∏ ÎÔÈÓˆÓ›· Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ˘ÈÔıÂÙ‹ÛÂÈ ÙË ªÈÎÚÔ›ÛÙˆÛË, ÙËÓ ·ÚÔ¯‹ ÌÈÎÚÒÓ ‰·Ó›ˆÓ ¯ˆÚ›˜ ÂÁÁ˘‹ÛÂȘ, ˆ˜ ̤ÛÔÓ ÂÍ¿ÏÂȄ˘ Ù˘ ÊÙүȷ˜. √È ÙÚ¿Â˙˜ ÈÛ¯˘Ú›˙ÔÓÙ·È ˆ˜ ÙËÓ ·Ú¤¯Ô˘Ó Î·È Ô √∏∂
·Ó·Î‹Ú˘Í ÙÔ 2005 ŒÙÔ˜ Ù˘ ªÈÎÚÔ›ÛÙˆÛ˘. ∂›Ó·È fï˜ ·˘Ù‹ Ë Ï‡ÛË ÁÈ· ÙË ÊÙÒ¯ÂÈ·; ∆Ô 1995 Ë
ÂÙ·ÈÚ›· MovieTron ΢ÎÏÔÊfiÚËÛ ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú "Signature of Change, the Grameen Bank in
Bangladesh", ÙÔ ÔÔ›Ô ·ÚÔ˘Û›·˙ Ò˜ ÏÂÈÙÔ˘ÚÁ› Ë ªÈÎÚÔ›ÛÙˆÛË Ì¤Û· ·fi ÔÚÙÚ·›Ù· Á˘Ó·ÈÎÒÓ ·fi ÙË µÂÁÁ¿ÏË. ∞˘Ùfi ÙÔ 46ÏÂÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú ÚÔ‚Ï‹ıËΠ·ÁÎÔÛÌ›ˆ˜. ¢¤Î· ¯ÚfiÓÈ· ÌÂÙ¿
ÂÈÛÙÚ¤ÊÔ˘Ì ÛÙÔ ª·ÁÎÏ·ÓÙ¤˜ ÁÈ· Ù· Á˘Ú›ÛÌ·Ù· Ù˘ «ªÈÎÚÔ›ÛÙˆÛ˘». ∂ÈÛÎÂÙfiÌ·ÛÙ ¿ÏÈ
ÙÔ˘˜ ÚˆÙ·ÁˆÓÈÛÙ¤˜ ÙÔ˘ ÓÙÔÎÈÌ·ÓÙ¤Ú ÙÔ˘ 1995 Î·È ÂÚ¢Óԇ̠ÙȘ ÂÈÙÒÛÂȘ Ô˘ ›¯Â Ë ªÈÎÚÔ›ÛÙˆÛË ÛÙȘ ˙ˆ¤˜ ÙÔ˘˜. ™Ùfi¯Ô˜ ÙÔ˘ ªÔ¯¿ÌÂÓÙ °ÈÔ‡ÓÔ˘˜, È‰Ú˘Ù‹ Ù˘ Grameen Bank, Â›Ó·È Ó· ··Ï›„ÂÈ ÙË ÊÙÒ¯ÂÈ·. √ÓÂÈÚ‡ÂÙ·È Ó· ·ÓÔ›ÍÂÈ ¤Ó· ÌÔ˘ÛÂ›Ô ÊÙÒ¯ÂÈ·˜ ÙÔ 2030 ÒÛÙ ӷ ÌÔÚÔ‡Ó fiÏÔÈ
Ó· ‰Ô˘Ó ÙÈ ‹Ù·Ó οÔÙÂ Ë ÊÙÒ¯ÂÈ·.
The world seems to have embraced Microcredit, giving small loans to the poor without collateral - as the means to end poverty. Conventional banks claim they offer it and the UN even proclaimed 2005 the year of Microcredit. But is it really the solution to poverty? In 1995 MovieTron
produced the documentary Signature of Change, the Grameen Bank in Bangladesh, which
showed the mechanisms of Microcredit through portraits of Bengali women. This 46-minute
documentary was broadcast worldwide. Ten years later we are back in Bangladesh for the
shooting of Small Change, Big Business. We revisit the main characters of the 1995 documentary and examine the effects Microcredit has had on their lives. The goal of Muhammad Yunus,
the founder of the Grameen bank, is to abolish poverty. He dreams of opening a poverty museum in 2030 so that everybody can see what poverty used to be like.
76
ECOFILMS
ƒ√¢√™
2006
RODOS
Mark Aardenburg
√ ª·ÚÎ Â›Ó·È ¤Ó·˜ ·ÓÂÍ¿ÚÙËÙÔ˜ ·Ú·ÁˆÁfi˜ ÓÙÔÎÈÌ·ÓÙ¤Ú Ì ‰Âη٤ÛÛÂÚ· ¯ÚfiÓÈ· ÂÌÂÈÚ›·˜ ÛÙËÓ ·Ú·ÁˆÁ‹
ÓÙÔÎÈÌ·ÓÙ¤Ú Ô˘ ¤¯Ô˘Ó ˆ˜ ı¤Ì· ÙȘ ·Ó·Ù˘ÛÛfiÌÂÓ˜ ¯ÒÚ˜ Î·È Ù· ÎÔÈÓˆÓÈο ˙ËÙ‹Ì·Ù·. ªÂ ÙËÓ ÂÙ·ÈÚ›· ÙÔ˘
MovieTron ¤¯ÂÈ Î¿ÓÂÈ, ÂÎÙfi˜ ·fi ıÂÛÌÈο ÓÙÔÎÈÌ·ÓÙ¤Ú, Ô¯ÙÒ ‰ÈÂıÓ‹ ÓÙÔÎÈÌ·ÓÙ¤Ú, Ù· ÔÔ›· Û˘Ó¯›˙Ô˘Ó Ó· ÚÔ‚¿ÏÏÔÓÙ·È ‰ÈÂıÓÒ˜. ø˜ ·ÓÂÍ¿ÚÙËÙÔ˜ ·Ú·ÁˆÁfi˜ ¤¯ÂÈ ÙÂÚ¿ÛÙÈ· ÂÌÂÈÚ›· Û fiÏÔ˘˜ ÙÔ˘˜ ÙÔÌ›˜ Ù˘ ·Ú·ÁˆÁ‹˜,
ÌÂٷ͇ ¿ÏÏˆÓ ÛÙËÓ ·Ó¿Ù˘ÍË ÛÂÓ·Ú›Ô˘, ¤Ú¢ӷ, Û˘ÁÁÚ·Ê‹, ÛÎËÓÔıÂÛ›·, ÌÔÓÙ¿˙, ‹¯Ô, ¯ÚËÌ·ÙÔ‰fiÙËÛË Î·È
‰È·ÓÔÌ‹. ¶ÚfiÛÊ·Ù· ¿Ú¯ÈÛ ӷ ‰È‰¿ÛÎÂÈ ÓÙÔÎÈÌ·ÓÙ¤Ú ÛÙÔ ÕÌÛÙÂÚÓÙ·Ì.
Mark Aardenburg
Mark is an independent documentary producer with fourteen years experience producing documentaries
about developing countries and social subjects. With his company MovieTron he made, besides institutional
films, eight international documentaries, which are still being broadcast worldwide. As an independent producer, he has had vast experience working in all aspects of production, including story development, research, writing, directing, editing, audio, fund-raising and distribution. Just recently he started giving lectures in documentary making in Amsterdam.
MovieTron
P.O.Box 11765
1001 GT Amsterdam
∆he Netherlands
Tel: +31 20 638 5013
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›·
Filmography
2005 Small Change, Big Business
2003 The Other American War, a crusade
against abortion
2002 Jamaica dot com, can ICT help
developing countries?
2000 Claiming Justice, is the American
claim culture coming to Europe?
2000 Black Slaves for Sale, 21 century Slave
Trade in Sudan
1998/1999 Donkey Caravan to Timbuktu,
4 Tuareg, 39 wild donkeys
and 4 camels 900 kilometer
through the desert
1997/1998 No Problem, kidney trade
in India.
1995/1996 Signature of Change,
the Grameen Bank in Bangladesh
√ Mark Aardenburg
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Mark Aardenburg about his film
£ÂˆÚÒ Ôχ ÛËÌ·ÓÙÈÎfi Ó· ·ÚÔ˘ÛÈ¿Ûˆ ˆ˜
Ë ÚˆÙÔ‚Ô˘Ï›· Ù˘ ÚÔÛ¿ıÂÈ·˜ Ó· ÂÍ·ÏÂÈÊı› Ë ÊÙÒ¯ÂÈ· ÚÔ¤Ú¯ÂÙ·È ·fi ÌÈ· ·fi ÙȘ ÈÔ
ÊÙˆ¯¤˜ ¯ÒÚ˜ ÙÔ˘ ÎfiÛÌÔ˘, ÙÔ ª·ÁÎÏ·ÓÙ¤˜,
Î·È fi¯È ·fi ÙË ¢‡ÛË. ¢Â‡ÙÂÚÔÓ, Â›Ó·È ÂÍ›ÛÔ˘
ÛËÌ·ÓÙÈÎfi Ó· ·ÚÔ˘ÛÈ·ÛÙ› ˆ˜ Ë ÌÈÎÚÔ›ÛÙˆÛË ‰ÂÓ ÌÔÚ› ·fi ÌfiÓË Ù˘ Ó· χÛÂÈ ÙÔ
Úfi‚ÏËÌ· Ù˘ ÊÙÒ¯ÂÈ·˜. ÃÚÂÈ¿˙ÔÓÙ·È ÔÏÏ¿
ÂÚÈÛÛfiÙÂÚ· ÁÈ· Ó· ¿„ÂÈ Ë ÊÙÒ¯ÂÈ·.
I think it is very important to show that this
initiative to try to end poverty is coming form
one of the poorest countries in the world,
Bangladesh, and not from the West. Secondly
it is equally important to show that micro
credit can not solve poverty on its own. A lot
of other things needs to be taken care to abolish poverty.
ECOFILMS
ƒ√¢√™
2006
RODOS
77
√ ™√™π∞§π™∆∏™, √ ∞ƒÃπ∆∂∫∆√¡∞™
∫∞π √ ∂§π∫√∂π¢∏™ ¶Àƒ°√™
SOSSEN, ARKITEKTEN OCH DET SKRUVADE HUSET
THE SOCIALIST THE ARCHITECT AND THE TWISTED TOWER
™Ô˘Ë‰›· Sweden, 2005
¢È¿ÚÎÂÈ· Running time: 60’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
First Hand Films World Sales
Schaffhauserstrasse 359
8050 Zürich
Switzerland
Tel: +41 1 312 20 60
Fax: +41 1 312 20 80
www.firsthandfilms.com
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ¶·Ú·ÁˆÁfi˜
Director, Script, Producer: Fredrik Gertten
∫¿ÌÂÚ· Camera: Södergren, Erik Bäving
™˘ÌÌÂÙ¤¯Ô˘Ó Participants:
Santiago Calatrava, Ingvar Nohlin,
Johnny Örbäck
Mo˘ÛÈ΋ Music: Cecilia Nordlund,
Krister Jonsson
ªÔÓÙ¿˙ Editor: Marie-Lousi Bordinggaard,
Oliver Bugge Coutté
◊¯Ô˜ Sound: Ivar Hamrin
78
™‡ÓÔ„ËSynopsis
∏ ÂӉȷʤÚÔ˘Û· «ÂÎ ÙˆÓ ¤Ûˆ» ÈÛÙÔÚ›· Ù˘ ηٷÛ΢‹˜ ÙÔ˘ Turning Torso, ÙÔ˘ „ËÏfiÙÂÚÔ˘ ÎÙÈÚ›Ô˘
ηÙÔÈÎÈÒÓ ÛÙËÓ ∂˘ÚÒË. ¢‡Ô ¿ÓÙÚ˜ Ô˘ ‰È·Î˘‚Â‡Ô˘Ó ÔÏÏ¿: Ô ·ÁÎÔÛÌ›ˆ˜ ‰È¿ÛËÌÔ˜ ·Ú¯ÈÙ¤ÎÙÔÓ·˜ ™·ÓÙÈ¿ÁÎÔ ∫·Ï·ÙÚ¿‚· Ô˘ ۯ‰ȿ˙ÂÈ ÙÔÓ ÚÒÙÔ ÙÔ˘ Ô˘Ú·ÓÔ͇ÛÙË Î·È Ô ‰È¢ı˘ÓÙ‹˜ ÌÈ·˜
ÌÈÎÚ‹˜ ÂÙ·ÈÚ›·˜ ηٷÛ΢‹˜ ηÙÔÈÎÈÒÓ, ¤Ó·˜ ÚÒËÓ ÔÏÈÙÈÎfi˜ Ô˘ ¯ÚËÛÈÌÔÔ›ËÛ fiÏË ÙÔ˘ ÙËÓ ÂÈÚÚÔ‹ ÁÈ· Ó· ÂÈÙ¢¯ı› ÙÔ Û¯¤‰ÈÔ. ∫·È ÙÒÚ· ÙÔ ÎfiÛÙÔ˜ ¤¯ÂÈ ÂÎÙÚԯȷÛÙ›…
The intriguing inside story on building Turning Torso, Europe’s highest residential building. Two
men with a lot at stake: world famous architect Santiago Calatrava designing his first sky scraper
and the managing director of a small-town cooperative housing company, a former politician,
who used all his influence to make it happen. And now costs are running wild…
ECOFILMS
ƒ√¢√™
2006
RODOS
Fredrik Gertten
°ÂÓÓ‹ıËΠÙÔ 1956 ÛÙÔ ª¿ÏÌÔ. ™ÎËÓÔı¤Ù˘, ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ Â‰Ò Î·È 20 ¯ÚfiÓÈ·. Œ¯ÂÈ ‰Ô˘Ï¤„ÂÈ Û fiÏÔ ÙÔÓ ÎfiÛÌÔ ÛÙÔ Ú·‰ÈfiʈÓÔ, ÙËÓ ÙËÏÂfiÚ·ÛË Î·È Û ÂÊËÌÂÚ›‰Â˜ Û ∞ÊÚÈ΋, §·ÙÈÓÈ΋ ∞ÌÂÚÈ΋, ∞Û›· Î·È ÙËÓ ∂˘ÚÒË ÙȘ
‰ÂηÂٛ˜ ÙÔ˘ ’80 Î·È ÙÔ˘ ’90. Œ¯ÂÈ ·Ó·Ï¿‚ÂÈ ÁÈ· Ù· ηӿÏÈ· SVT, TV4 Î·È TV3 ÙËÓ ·Ú·ÁˆÁ‹ ÓÙÔÎÈÌ·ÓÙ¤Ú, „˘¯·ÁˆÁÈÎÒÓ Î·È ÂÓËÌÂÚˆÙÈÎÒÓ ÂÎÔÌÒÓ. ∆Ô 1995 ÂΉfiıËΠÙÔ ‚È‚Ï›Ô "Young Man searching the World"
(Gong Gong Publisher). ∞ÚıÚÔÁÚ¿ÊÔ˜ ÛÙËÓ ÂÊËÌÂÚ›‰· Arbetet 1990-2000. ∞ÚıÚÔÁÚ¿ÊÔ˜ ÛÙËÓ ÂÊËÌÂÚ›‰·
Kvällsposten 2001-2003. Œ¯ÂÈ ÌÂÁ¿ÏÔ Î‡ÎÏÔ Â·ÊÒÓ ÛÙ· ÛԢˉÈο ªª∂.
Fredrik Gertten
Born 1956 in Malmö. Filmmaker, journalist since 20 years. He has worked around the world for radio, TV and
newspapers in Africa, Latinamerica, Asia and around Europe during the eighties and nineties. For SVT, TV4
and TV3 he has produced documentaries, entertaining- and media-critic programs. 1995 the traveling book
Young Man searching the World was published (Gong Gong Publisher). Columnist in the newspaper Arbetet
1990-2000. Columnist in the newspaper Kvällsposten 2001-2003. He’s got a wide range of contacts in the
Swedish media world.
Westman & Gertten AB
Documentary Film
Västergatan 23
SE-211 21 Malmö
Sweden
∆el: +46 40 781 50, +46 40 23 20 98
Fax: +46 40 23 35 10
Email:[email protected]
www.wgfilm.com
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 An Ordinary Family
The Architect and the Twisted Tower
2003 Bye Bye Malmö
2002 Vägen tillbaka-Bladarar2
2001 The Poetry General
2000 The Great Bridge
Travel with Siluette
Walking on Water
Death of a Working Man_s
Newspaper
1998 Bladarar
1995 Malmö-Montevideo, my Place in the
World
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 Festival International
du Film sur l'Art, Montreal
Documenta Madrid
Vivre les villes, Paris
√ Fredrik Gertten
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Fredrik Gertten
about his film
¶¿ÓÙ· Ì ÂӉȤÊÂÚ·Ó Ë ·Ú¯ÈÙÂÎÙÔÓÈ΋ Î·È Ù· ·ÛÙÈο ÎÙ›ÚÈ·. ¶ÂÚÈÛÛfiÙÂÚÔ ·fi ÎÔÈÓˆÓÈ΋ ηÈ
ÔÏÈÙÈ΋ ·Ú¿ ·fi ÌÈ· ·˘ÛÙËÚ¿ ·ÈÛıËÙÈ΋ ¿Ô„Ë. ¢È¿‚·Û· ˆ˜ Ô ∫·Ï·ÙÚ¿‚· ı· ¤¯ÙÈ˙ ¤Ó· „ËÏfi ÎÙ›ÚÈÔ ÛÙÔ ª¿ÏÌÔ. ∆ÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘
2000 Û˘Ó¿ÓÙËÛ· ÙÔÓ ™·ÓÙÈ¿ÁÎÔ ∫·Ï·ÙÚ¿‚·
Î·È ÙÔÓ ∆˙fiÓÈ ŸÚÌ·¯ Î·È ÙÔ˘˜ ÚÒÙËÛ· ·Ó ı·
ÌÔÚÔ‡Û· Ó· ·ÎÔÏÔ˘ı‹Ûˆ Ù· ÙÂÎÙ·ÈÓfiÌÂÓ· ÂÎ
ÙˆÓ ¤Ûˆ. ªÔÚ› Ó· ÌÂÙ¿ÓÈˆÛ·Ó Î¿ÔȘ ÊÔÚ¤˜ ÁÈ· ·˘Ù‹ ÙËÓ ˘fiÛ¯ÂÛË, Ì· Ì·˜ ÂÈÙÚ¿ËÎÂ. ∏ Ù·ÈÓ›· ı¤ÙÂÈ ÔÏÏ¿ ÂÚˆÙ‹Ì·Ù· ÁÈ· ÙȘ ÌÂÁ¿Ï˜ ÂÙ·Èڛ˜ ÛÙÔÓ Î·Ù·Û΢·ÛÙÈÎfi ÙÔ̤· ηÈ
ÙË ‰‡Ó·Ì‹ ÙÔ˘˜ ÛÙË ™Ô˘Ë‰›·. ¶·ÚÔ˘ÛÈ¿˙ÂÈ Â›Û˘ ÙÔ ÚfiÏÔ ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· Î·È ÙÈ Û˘Ì‚·›ÓÂÈ
·Ó οÔÈÔ˜ ÙÔÏÌ‹ÛÂÈ Ó· ÔÓÂÈÚ¢Ù› οÙÈ ÌÂÁ¿ÏÔ
ÛÂ ·˘Ù‹ ÙË ¯ÒÚ·.
I’ve always been interested in architecture
and town buildings. More from a social and
political perspective than from the strict esthetical perspective. I read that Calatrava was
about to build a high building in Malmö. In
August the year 2000 I met Santiago Calatrava
and Johnny Örbäck and asked if I could follow
the process from the inside. That promise
they might have regretted sometimes, but we
were allowed to follow The filming gave pay
off. "The Socialist, the Architect and the Twisted Tower" raises many questions about the
big companies within the building trade and
their power in Sweden. It also shows the architects role and what happens if any one
dares to dream of something big in this country.
ECOFILMS
ƒ√¢√™
2006
RODOS
79
√ ¶√§∂ª√™ ∆ø¡ ∞∫ƒπ¢ø¡
LA GUERRE DES CRIQUETS / THE WAR OF THE LOCUSTS
°·ÏÏ›· France, 2005
¢È¿ÚÎÂÈ· Running time: 52’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Sylvie Corso
ARTE GEIE
4, quai du Chanoine Winterer,
67080 Strasbourg cedex
France
Tel: +33 388142071
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: Pascal Carcanade,
Laurent Cibien
∞Ê‹ÁËÛË Narration: Laurent Cibien
∫¿ÌÂÚ·, ªÔÓÙ¿˙ Camera, Edit:
Pascal Carcanade
◊¯Ô˜ Sound: Arnaud Devillers
¶·Ú·ÁˆÁ‹ Production: Arte Reportages,
Marco Nassivera, Anne Florence Garnier and
CTA, Technical Center for Agricultural and
Rural Cooperation ACP–EU, Sarah Bel
™‡ÓÔ„ËSynopsis
πÔ‡ÏÈÔ˜ 2005: Ô ÎfiÛÌÔ˜ Ì ÊÚ›ÎË ·Ó·Î·Ï‡ÙÂÈ ÙȘ ÂÈÎfiÓ˜ ÙÔ˘ ÏÈÌÔ‡ ÛÙË ¡ÈÁËÚ›·. ŸÌˆ˜ Ë Î·Ù·ÛÙÚÔÊ‹ ·˘Ù‹ ‹Ù·Ó ÚԂϤ„ÈÌË Î·È ı· ÌÔÚÔ‡Û ӷ ›¯Â ·ÔÊ¢¯ı›. ºÂ‚ÚÔ˘¿ÚÈÔ˜ 2004: Ô ¢ÈÂıÓ‹˜ √ÚÁ·ÓÈÛÌfi˜ ∆ÚÔÊ›ÌˆÓ Î·È °ÂˆÚÁ›·˜ (FAO) οÓÂÈ ÌÈ· ¤ÎÙ·ÎÙË ¤ÎÎÏËÛË: ¤¯ÂÈ ·ÚÔ˘ÛÈ·ÛÙ› ÂÈÛ‚ÔÏ‹ ·ÎÚȉÒÓ Ù˘ ÂÚ‹ÌÔ˘ ÛÙËÓ ÂÚÈÔ¯‹ ™¿¯ÂÏ: ÔÈ ÏÔ‡ÛȘ ¯ÒÚ˜ ı· Ú¤ÂÈ Ó· ÛÙ›ÏÔ˘Ó ¯Ú‹Ì·Ù· ÙÔ Û˘ÓÙÔÌfiÙÂÚÔ ‰˘Ó·ÙfiÓ. ª¿ÈÔ˜ 2004: ÛÙË ª·˘ÚÈÙ·Ó›·, ÙËÓ ÈÔ Â˘·›ÛıËÙË ¯ÒÚ· Ù˘ ÂÚÈÔ¯‹˜, ·Ú·ÙËÚԇ̠ÙËÓ ÂÈÛÙÚÔÊ‹ ÙˆÓ ·ÎÚȉÒÓ Î·È ÙËÓ ¤ÏÏÂÈ„Ë ÙˆÓ Ì¤ÛˆÓ Î·Ù·ÔϤÌËÛ‹˜ ÙÔ˘˜.
™Â٤̂ÚÈÔ˜ 2004: Ù· ¯Ú‹Ì·Ù· ‰ÂÓ ¤¯Ô˘Ó ηٷÊÙ¿ÛÂÈ Î·È Ù· ÛÌ‹ÓË ·ÎÚȉÒÓ Î·Ù·‚ÚÔ¯ı›˙Ô˘Ó ÙË
ÛÔ‰ÂÈ¿. ∞Ú›ÏÈÔ˜ 2005: ÔÈ ·ÎÚ›‰Â˜ ¤¯Ô˘Ó ¯·ı›, Ì· ÔÈ Û˘Ó¤ÂȘ ·Ú·Ì¤ÓÔ˘Ó: ¯Ú¤Ë, ·ÁÚÔÙÈ΋ ηٷÛÙÚÔÊ‹, Ù· ÚÒÙ· ÛËÌ¿‰È· ˘ÔÛÈÙÈÛÌÔ‡.
July 2005: the world discovers in horror the pictures of the famine in Niger. However, this
catastrophe was foreseeable and could have been avoided. February 2004: the FAO launches an
emergency appeal: there has been a worrying outbreak of desert locusts in the Sahel region:
rich countries should send money as soon as possible. May 2004, in Mauritania, the most
vulnerable country in the area, we can see the return of the locusts and the lack of means to
fight against them. September 2004: The money has not arrived and the locust swarms are
devouring the harvests. April 2005: The locusts have disappeared, but the consequences are
there: debts, rural exode, first signs of malnutrition.
80
ECOFILMS
ƒ√¢√™
2006
RODOS
Pascal Carcanade & Laurent Cibien
√ Pascal Carcanade Â›Ó·È ÛÎËÓÔı¤Ù˘, οÌÂÚ·Ì·Ó Î·È ÌÔÓÙ¤Ú. ∂›Ó·È 42 ÂÙÒÓ.
√ Laurent Cibien Â›Ó·È ÛÎËÓÔı¤Ù˘ Î·È ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜. ∂›Ó·È 36 ÂÙÒÓ Î·È ÂÚÁ¿˙ÂÙ·È Û Á·ÏÏÈο ÎÚ·ÙÈο ηӿÏÈ·
fiˆ˜ Arte, France2, France5.
O Pascal Carcanade Î·È Ô Laurent Cibien Û˘ÓÂÚÁ¿˙ÔÓÙ·È Â‰Ò Î·È 8 ¯ÚfiÓÈ·. ÿ‰Ú˘Û·Ó ÙËÓ ÂÙ·ÈÚ›· Contre Films,
Ù˘ ÔÔ›·˜ Ë ¤‰Ú· Â›Ó·È ÛÙÔ ¶·Ú›ÛÈ.
Pascal Carcanade is a filmmaker, a cameraman and an editor. He’s 42 years old.
Laurent Cibien is a filmmaker and a journalist. He’s 36 years old, and he’s working with French public televisions, as Arte, France2, France5.
Pascal Carcanade and Laurent Cibien have been working together for 8 years. They created Contre Films, a
company based in Paris.
Laurent Cibien,
Pascal Carcanade
C/O Contre Films
49 Rue Du Lt Thomas
93170 Bagnolet
France
Tel: +33 608759641 (LC),
+33 686949123 (PC)
Fax: +33 148513656
Email: [email protected]
[email protected]
[email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
L.Cibien and P. Carcanade:
The war of the locusts, 52’
Orang-utans in danger, 26’
Neuromarketing, des marques dans le
cerveau, 31’
L’école et le petard, 34’
Peur sur les toits, 26’
L’Amérique au piquet, 26’
L. Cibien:
Rwanda, un genocide sans coupable, 62’
Des enfants en lutte, 52’
√È Pascal Carcanade
Î·È Laurent Cibien
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘˜
Pascal Carcanade
and Laurent Cibien
about their film
°È· ¤Ó· ¯ÚfiÓÔ ·Ú·ÎÔÏÔ˘ıÔ‡Û·Ì ÙËÓ ·Ú¯‹,
ÙËÓ ÎÏÈ̿ΈÛË Î·È ÙȘ Û˘Ó¤ÂȘ ÌÈ·˜ «Û˘ÓËıÈṲ̂Ó˘» ·ÓıÚˆÈÛÙÈ΋˜ Î·È ÔÈÎÔÏÔÁÈ΋˜ ÎÚ›Û˘: ÔÈ ·ÎÚ›‰Â˜ ÂÈÛ‚¿ÏÔ˘Ó ÛÙË ¢˘ÙÈ΋ ∞ÊÚÈ΋.
™ÎÔfi˜ ·˘ÙÔ‡ ÙÔ˘ ÓÙÔÎÈÌ·ÓÙ¤Ú ‹Ù·Ó Ó· ‰Â›ÍÔ˘Ì ˆ˜ Ë ·‰È·ÊÔÚ›· ÙˆÓ ÏÔ‡ÛÈˆÓ ÎÚ·ÙÒÓ
ÌÔÚ› Ó· ÛÎÔÙÒÛÂÈ, ·ÎfiÌ· Î·È ·Ó fiÏÔÈ ÚÔÂȉÔÔÈÔ‡Û·Ó ÁÈ· ÙÔ ÙÈ ı· ÁÈÓfiÙ·Ó.
During one year, we’ve followed the beginning, the climax and the consequences of a
"normal" humanitarian and ecological crisis:
the locusts invade in Western Africa. With this
documentary, our aim was to show how rich
countries indifference could kill, even if everybody told it will happen
P. Carcanade:
Au Carrefour des droits de l’Homme, 52’
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2005 Festival International du Film
d’Environnement, Paris
Short version (42’) broadcasted
by ARTE
ECOFILMS
ƒ√¢√™
2006
RODOS
81
¢È·ÁˆÓÈÛÙÈÎfi
Competition
∆∞π¡π∂™ ªπ∫ƒ√À ª∏∫√À™ SHORT FILMS
84
85
86
87
88
89
90
91
92
93
94
°π∞ ∂ª∞™
∞BOUT US
∞°∞£∏ ÃÀ™∞º∏
AGATHI CHRYSAFI
∞°π∞ º∞∂π¡∏
∞GIA FAINI
∆√ ∞°√ƒπ ¶√À §∞∆ƒ∂À∂ ∆∏ ºÀ™∏
GUTTEN SOM FORGUDET VILLMARKA
THE BOY WHO ADORED THE WILDERNESS
∏ ∆ƒ∂§∞ ∆ø¡ ∞À∆√∫π¡∏∆ø¡
CAR CRAZE
ª∏¡ ¶∂∆∞•∂π™ ∆π¶√∆∞
DON’T THROW ANYTHING AWAY
√π∫√-¡∆∞ƒª∞
ECO DHARMA
TA ¶∞¡∆∞ ƒ∂π
PANTA REI / EVERYTHING FLOWS
∆A´∑√¡∆∞™ ∆π™ ¶∞¶π∂™
EENDJES VOEREN / FEEDING THE DUCKS
∆√ ¢∞™√™ Ã√ƒ∂À∂π
THE FOREST DANCES
∆π √ª√ƒº∏ ¶√À ∂π¡∞π ™∏ª∂ƒ∞
∏ ∫ø¡™∆∞¡∆π¡√À¶√§∏
BUGUN ISTANBUL NE KADAR GUZEL
HOW BEAUTIFUL ISTANBUL IS TODAY
95
∏ √π∫∂π√∆∏∆∞ ∆ø¡ •∂¡ø¡
THE INTIMACY OF STRANGERS
96
97
98
99
100
101
102
103
104
105
106
107
∫√À∑π¡∞
KITCHEN
ª∞°∂π∞
O MAGO / THE MAGE
™∫À§√ª∞¡∆∂ƒ
MUTTUMENTARY
√ ºπ§√™ ª√À, ∫Àƒπ√™ ∆∞Àƒ√™
MY FRIEND, MR BULL
£√ƒÀµ√™
NOISE
√π £√ƒÀµø¢∂π™ °∂π∆√¡∂™
THE NOISY NEIGHBOURS
¡∏™π ºπ-ºπ, ª∂∆∞ ∆√ ∆™√À¡∞ªπ
PHI PHI-AFTER TSUNAMI
¢∏§∏∆∏ƒπ∞™ª∂¡∞ ¶§√π∞
NAVI AVVELENATE / POISONED BOATS
ºø∫π∂™ ™∆∏¡ ∞°√ƒ∞ ∆√À ¶√∆∞ª√À
LOBOS DE LA FERIA FLUVIAL
SEA WOLVES AT THE RIVER MARKET
∫∞∆∞™Ã∂™∏
LA SAISE / SEIZURE
∫∏¢∂π∞ ™∆√¡ √Àƒ∞¡√
SKY BURIAL
™Àªµπø™∏
SYMBIOSIS
°π∞ ∂ª∞™
∞BOUT US
πÚ¿Ó Iran, 2005
¢È¿ÚÎÂÈ· Running time: 3’ 49’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Azam Mousavi
No 25 Lida St
Vanak sq, Tehran
Iran
Tel: +9809126469294
Fax: +9802166875094
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·,
ŒÚ¢ӷ, ™ÂÓ¿ÚÈÔ, ¶·Ú·ÁˆÁfi˜
Director, Camera, Research,
Script, Producer: Azam Mousavi
ªÔÓÙ¿˙, ◊¯Ô˜, °Ú·ÊÈο
Edit, Sound, Graphics:
Parviz Hassanlou
ªÔ˘ÛÈ΋ Music: Shabnam Karpasand
ºÈÏÌÔÁÚ·Ê›· Filmography
™‡ÓÔ„ËSynopsis
∆Ô 2005 ÙÔ πÚ¿Ó ¤ÚÂ ӷ ÂÎϤÍÂÈ Úfi‰ÚÔ. √ÎÙÒ ˘Ô„‹ÊÈÔÈ ÚÔÛ·ıÔ‡Û·Ó Ó· ÎÂÚ‰›ÛÔ˘Ó ÙËÓ
ÏÂÈÔ„ËÊ›·. ∂ΛÓË ÙËÓ ÂÚ›Ô‰Ô Ù· ªª∂ ÂÓı¿ÚÚ˘Ó·Ó ÙÔÓ ÎfiÛÌÔ Ó· „ËÊ›ÛÂÈ. ∆Ș ÙÂÏÂ˘Ù·›Â˜ ̤Ú˜
Ë ‰È·Ê‹ÌÈÛË ÂÓÙ¿ıËΠÛÙ· ªª∂ Û fiÏË ÙË ¯ÒÚ·. ™ÎÔfi˜ ·˘Ù‹˜ Ù˘ Ù·ÈÓ›·˜ Â›Ó·È Ë ·ÓÙ›‰Ú·ÛË ÙÔ˘
ÎfiÛÌÔ˘ ÛÙ· ÌËӇ̷ٷ ÙˆÓ ªª∂!
2005 Iran should have selected its president. Eight candidates had been trying to get at more
votes. Inside Medias on those days encouraged people to vote. In the last days the intensity of
advertising was increased in Medias in all country. The main goal in this film is people reaction
against Medias' messages!
2005 About Us
Faramooshi
2004 Mareke
Azam Mousavi
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
Azam Mousavi
°ÂÓÓ‹ıËη ÙÔ 1982 ÛÙÔ πÚ¿Ó. ™Ô˘‰¿˙ˆ °Ú·ÊÈÛÙÈ΋ ÛÙÔ ·ÓÂÈÛÙ‹ÌÈÔ.
∂›Û˘ ¤¯ˆ Ù˘¯›Ô ·fi ÙÔ πÓÛÙÈÙÔ‡ÙÔ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ¡¤ˆÓ πÚ·ÓÒÓ.
¶ÚÈÓ ·fi ¤Ó· ¯ÚfiÓÔ ÍÂΛÓËÛ· Ó· ÎÈÓËÌ·ÙÔÁÚ·ÊÒ Î·È ¤Î·Ó· 3 Ù·Èӛ˜. ∏
ÚÒÙË Â›¯Â ˆ˜ ı¤Ì· ÌÈ· ·fi ÙȘ ÁÈÔÚÙ¤˜ ÙˆÓ ªÔ˘ÛÔ˘ÏÌ¿ÓˆÓ. ∂›¯Â
‰È¿ÚÎÂÈ· 3 ÏÂÙ¿. ∏ ‰Â‡ÙÂÚË ·ÊÔÚÔ‡Û ٷ ı‡Ì·Ù· ÙˆÓ ¯ËÌÈÎÒÓ fiψÓ
ÛÙÔÓ fiÏÂÌÔ πÚ¿Ó-πÚ¿Î (14’ 17’’), ı‡Ì·Ù· Ô˘ ˙Ô˘Ó Ì ÔÏÏ¿ ÚÔ‚Ï‹Ì·Ù·. ∫·È Ë ÙÚ›ÙË ÌÔ˘ Ù·ÈÓ›· ·ÊÔÚ¿ ÙȘ 9˜ ÚÔ‰ÚÈΤ˜ ÂÎÏÔÁ¤˜ ÛÙÔ
πÚ¿Ó.
No 25 Lida St
Vanak sq, Tehran
Iran
Tel: +9809126469294
Fax: +9802166875094
Email: [email protected]
I was born in 1982 in Iran. I study Graphic in university. I also have a
diploma from Young Iranian Cinema institute. One year ago I started
my activity and I made 3 films. The first showed one of the Moslems' ceremonies. It was 3 minutes. The second was about chemical victims of Iran-Iraq war (14' 17"). Victims who are living with many problems. And
my 3rd is about 9th presidential election in Iran.
10th Short film festival of Tehran
84
ECOFILMS
ƒ√¢√™
2006
RODOS
∞°∞£∏ ÃÀ™∞º∏
AGATHI CHRYSAFI
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 13’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Giatsis Vassilis
Anoma Productions
Fidiou 18A
10678 Athens
Greece
Tel: +30 2103839798
Fax: +30 22510 36709
Email: [email protected]
™ÎËÓÔı¤Ù˘, ÛÂÓ¿ÚÈÔ Director, script:
ŒÊË §·ÙÛÔ‡‰Ë, Hjalmar Dahm, ™Ù¤ÏÈÔ˜
∫Ú·Ô˘Ó¿Î˘ Efi Latsoudi, Hjalmar Dahm,
Stelios Kraounakis
∫¿ÌÂÚ· Camera: Hjalmar Dahm
◊¯Ô˜ Sound: ™Ù¤ÏÈÔ˜ ∫Ú·Ô˘Ó¿Î˘ Stelios
Kraounakis
ªÔÓÙ¿˙ Edit: ŒÊË §·ÙÛÔ‡‰Ë, Hjalmar
Dahm, ™Ù¤ÏÈÔ˜ ∫Ú·Ô˘Ó¿Î˘, °ÈÒÚÁÔ˜
∫·ÏfiÁÂÚÔ˜ Efi Latsoudi, Hjalmar Dahm,
Stelios Kraounakis, Giorgos Kalogeros
ªÔ˘ÛÈ΋ Music: £¿ÓÔ˜ ª·ÛÙÚ·ÓÙˆÓ¿Î˘,
°È¿ÓÓ˘ ¢·Ì·Ï‹˜ Thanos Mastrantonakis,
Giannis Damalis
¶·Ú·ÁˆÁ‹ Production: Anoma Films,
ŒÊË §·ÙÛÔ‡‰Ë, Hjalmar Dahm, ™Ù¤ÏÈÔ˜
∫Ú·Ô˘Ó¿Î˘ Anoma Films, Efi Latsoudi,
Hjalmar Dahm, Stelios Kraounakis
™‡ÓÔ„ËSynopsis
∏ ∞Á¿ıË ÃÚ˘Û¿ÊË Â›Ó·È Ì›· ËÏÈÎȈ̤ÓË Î˘Ú›· Ô˘ ¤¯ÂÈ ÂÚ¿ÛÂÈ fiÏË Ù˘ ÙËÓ ˙ˆ‹ Û ¤Ó· ÔÚÂÈÓfi
¯ˆÚÈfi Ù˘ ª˘ÙÈÏ‹Ó˘. ª·˙‡ÂÈ ÂÏȤ˜, ¯fiÚÙ·, ÚÔÛ¤¯ÂÈ ÙȘ ηÙۛΘ Ù˘, ‚ÔËı¿ÂÈ ÙÔ ÁÈÔ Ù˘ Ì ÙÔ Î·ÊÂÓÂ›Ô ÎÈ fiÙ·Ó Ù˘ ¤Ú¯ÂÙ·È Ë fiÚÂÍË ˙ˆÁÚ·Ê›˙ÂÈ ÙÔ˘˜ ÙÔ›¯Ô˘˜ ÙÔ˘ ÛÈÙÈÔ‡ Ù˘.
Agathi Chrysafi is an old lady living in a small village in Lesvos Island, Greece. Her life is made up
of ordinary activities such as: collecting olives and herbages, taking care of her goats and helping her son in his café. When she feels like it, she paints the inner walls of her home.
ŒÊË §·ÙÛÔ‡‰Ë / Efi Latsoudi
Œ¯ÂÈ ÌÂÙ·Ù˘¯È·Îfi Ù›ÙÏÔ ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ Paris VII. ∞Û¯ÔÏÂ›Ù·È Ì ÙË ‰ËÌÈÔ˘ÚÁ›· ÓÙÔÎÈÌ·ÓÙ¤Ú Ù· ÙÂÏÂ˘Ù·›· ÙÚ›·
¯ÚfiÓÈ· Î·È Â›Ó·È ·Ú·ÁˆÁfi˜ Ú·‰ÈÔʈÓÈÎÒÓ ÂÎÔÌÒÓ ÁÈ· ÙÔ ÂÚÈ‚¿ÏÏÔÓ ÛÙË §¤Û‚Ô.
She holds a postgraduate degree from Paris University VII. She produces documentaries for the past three
years and is also a producer of radio shows on the environment at a Lesvos radio station.
Dahm Hjalmar
∂›Ó·È ·Ú·ÁˆÁfi˜ Ú·‰ÈÔʈÓÈÎÒÓ ÂÎÔÌÒÓ ÁÈ· ÙÔ ™Ô˘Ë‰ÈÎfi Ú·‰ÈfiʈÓÔ, ʈÙÔÁÚ¿ÊÔ˜ Î·È ‰ËÌÈÔ˘ÚÁfi˜ ‰‡Ô
Ù·ÈÓÈÒÓ ÁÈ· ÙË Ê‡ÛË.
Dahm Hjalmar is a radio producer for Sweden’s radio stations and has created two films about nature.
™Ù¤ÏÈÔ˜ ∫Ú·Ô˘Ó¿Î˘ / Stelios Kraounakis
Œ¯ÂÈ Ù˘¯›Ô √ÈÎÔÓÔÌÔÏfiÁÔ˘ Î·È ÌÂÙ·Ù˘¯È·Îfi Ù›ÙÏÔ «¶ÂÚÈ‚·ÏÏÔÓÙÈ΋ ¶ÔÏÈÙÈ΋ Î·È ¢È·¯Â›ÚÈÛË». ∂›Ó·È
·Ú·ÁˆÁfi˜ Ú·‰ÈÔʈÓÈÎÒÓ ÂÎÔÌÒÓ ÁÈ· ÙÔ ÂÚÈ‚¿ÏÏÔÓ Û ÛÙ·ıÌfi Ù˘ §¤Û‚Ô˘.
He holds a degree in Economics and a postgraduate degree on "Environmental politics and management". He
radio shows on the eviroment at a Lesvos radio Station.
ECOFILMS
ƒ√¢√™
2006
RODOS
85
∞°π∞ º∞∂π¡∏
∞GIA FAINI
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 10’ 49’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Youth Multi-Expression Group Of Arkadia
ELEFSIS
Esxilou 1 & Tapias
Tripoli Arkadia
Greece
Tel: +30 2710 238493
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·, ªÔÓÙ¿˙, ◊¯Ô˜
Director, Camera, Edit, Sound:
°ÂÚ¿ÛÈÌÔ˜ µ¿ÎÚÔ˜ Gerasimos Vakros
MÔ˘ÛÈ΋ Music: ∫ÒÛÙ·˜ ¢ËÌÔ˘Ï¤·˜
Costas Dimouleas
∏ıÔÔÈÔ› Cast: ŸıˆÓ·˜ ∫·ÓÂÏÏfiÔ˘ÏÔ˜,
§‹‰· §Ô˘Î·Ù¿ÚË, ¢ËÌ‹ÙÚ˘ ª¤ÁÁÔ˜, °ÈԇϷ
ªfiÙÈ, ¶¿ÓÔ˜ ªÔ‡ÚÏ·˜, ¢ËÌ‹ÙÚ˘ ™È·‚¤Ï˘
Othonas Kanelopoulos, Lida Loukatari,
Dimitris Megos, Gioula Boti, Panos Mourlas,
Dimitris Siavelis
∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜ Executive
Producer: §‹‰· §Ô˘Î·Ù¿ÚË Lida Loukatari
¶·Ú·ÁˆÁfi˜ Producer: √Ì¿‰· ¡Â·ÓÈ΋˜
¶ÔÏ˘¤ÎÊÚ·Û˘ ∞Ú牛·˜ ∂§∂À™π™ Youth
Multiexpression Group of Arkadia ELEFSIS
™‡ÓÔ„ËSynopsis
ŒÓ·˜ ȉÈfiÚÚ˘ıÌÔ˜ Ó·fi˜ ·ÊÈÂڈ̤ÓÔ˜ ÛÙËÓ Â˘ÂÚÁÂÛ›· ÙÔ˘ ʈÙfi˜ ÛÙË Ì¤ÛË ÙÔ˘ Á˘ÌÓÔ‡ ÔÚÔ‰›Ô˘ Ù˘ ·Úη‰È΋˜ ª·ÓÙÈÓ›·˜. ∞Û΋ÛÂȘ ‚ϤÌÌ·ÙÔ˜ Ì ıÂÌ·ÙÈÎfi ÊfiÓÙÔ ÙÔ Ó·fi Ù˘ ∞Á›·˜ º·ÂÈÓ‹˜ºˆÙÂÈÓ‹˜.
A peculiar temple dedicated to the beneficence of light, situated in the middle of the bare
plateau of Mandinia in Arcadia. Gazing practices using the temple of Agia Faini-Fotini as a background.
°ÂÚ¿ÛÈÌÔ˜ µ¿ÎÚÔ˜
°ÂÓÓ‹ıËΠÛÙËÓ ∆Ú›ÔÏË ÙÔ 1969. ºÔ›ÙËÛ ÛÙËÓ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ Û¯ÔÏ‹
Ù˘ ∂˘ÁÂÓ›·˜ ÷Ù˙›ÎÔ˘. ∂ÚÁ¿ÛÙËΠ۠ÂÊËÌÂÚ›‰Â˜ Î·È ÂÚÈÔ‰Èο ˆ˜ ÎÚÈÙÈÎfi˜
ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘, Û ‰È·ÊËÌÈÛÙÈ΋ ÂÙ·ÈÚ›· ˆ˜ ‚ÔËıfi˜ ÛÎËÓÔı¤ÙË, Û ·Ú·ÁˆÁ¤˜ Ù·ÈÓÈÒÓ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜, ÛÎËÓÔı¤ÙËÛ ÁÈ· ÙÔ ı¤·ÙÚÔ, ηıÒ˜ ηÈ
ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ „ËÊȷΤ˜ Ù·Èӛ˜, ¤ÁÚ·„ ÛÂÓ¿ÚÈ· ÔÈÎÔÏÔÁÈÎÒÓ ÓÙÔÎÈÌ·ÓÙ¤Ú ÁÈ· ÙËÓ ÎÚ·ÙÈ΋ ÙËÏÂfiÚ·ÛË. Œ¯ÂÈ ÂÈÌÂÏËı› ÂΉfiÛÂȘ Î·È ÂÚÁÔ‚ÈÔÁڷʛ˜ Î·È ¤¯ÂÈ ÁÚ¿„ÂÈ ÙÚÂȘ ÔÈËÙÈΤ˜ Û˘ÏÏÔÁ¤˜. ª¤ÏÔ˜ Ù˘ ¶·ÓÂÏÏ‹ÓÈ·˜ ŒÓˆÛ˘ ∫ÚÈÙÈÎÒÓ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È È‰Ú˘ÙÈÎfi ̤ÏÔ˜ Ù˘ ÔÌ¿‰·˜ ŒÏ¢ÛȘ
∞Ú牛·˜. ∂›Û˘ ÂÌÊ·Ó›ÛÙËΠˆ˜ ËıÔÔÈfi˜ ÛÙËÓ Ù·ÈÓ›· ÙÔ˘ ∞ϤͷӉÚÔ˘
¶··ËÏÈÔ‡ «¶·ÙÚ›‰· Â›Ó·È Ë ·È‰È΋ ËÏÈΛ·».
°ÂÚ¿ÛÈÌÔ˜ µ¿ÎÚÔ˜
¶·˘Û·Ó›Ô˘ 18
2100 ∆Ú›ÔÏË
∂ÏÏ¿‰·
Gerasimos Vakros
Gerasimos Vakros
Pafsaniou 18
2100 Tripoli
Greece
∆el: +30 697 2237943
Email: [email protected]
86
Born in Tripolis, 1969. Studied at film school of Eugene Hatzikou. Worked in newspapers and magazines as film
critic, in an advertising company as assistant director, in productions of short films, directed for the theatre, as well
as digital short films, scriptwriter of ecological documentaries for Greek National Television, editing application, biographies and three poetic collections. Member of the Pan-Hellenic Union of Films Critics and founding member of
the group Elefsis of Arcadia. Performed as an actor on Alexandros Papaelios’s film "Homeland is childhood".
ECOFILMS
ƒ√¢√™
2006
RODOS
∆√ ∞°√ƒπ ¶√À §∞∆ƒ∂À∂ ∆∏ ºÀ™∏
GUTTEN SOM FORGUDET VILLMARKA
THE BOY WHO ADORED THE WILDERNESS
¡ÔÚ‚ËÁ›· Norway, 2005
¢È¿ÚÎÂÈ· Running time: 24’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Arna Bersaas
Norwegian Film Institute
Boks 482 Sentrum 0105 Oslo, Norway
Filmens Hus, Dronningens gate 16, Oslo
Norway
Tel: +47 22 47 45 00
Fax: +47 22 47 45 99
Email: [email protected]
www.nfi.no
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ªÔÓÙ¿˙,
∞Ê‹ÁËÛË, ¶·Ú·ÁˆÁfi˜
Director, Script, Edit, Narration,
Producer: Asgeir Helgestad
◊¯Ô˜ Sound: Bjorn Terje Kjorstad
∏ıÔÔÈÔ› Cast: Vilgeir H. Helgestad (Boy),
Arnt Berget (Grandfather), Jarle Lislien
(Hunter)
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 The Boy who adored the Wilderness
2002 Wild reindeer
1992 Buzzardsummer
™‡ÓÔ„ËSynopsis
ŒÓ·˜ ¿ÓÙÚ·˜ ·Ó·ÔÏ› Ù· ·È‰Èο ÙÔ˘ ¯ÚfiÓÈ·. ø˜ ·È‰› ¤‚ÚÈÛΠÙÔÓ ÎfiÛÌÔ ÌÂÁ¿ÏÔ, ¿ÁÚÈÔ Î·È Û˘Ó·Ú·ÛÙÈÎfi. ∞ÎÔÏÔ˘ıԇ̠·˘Ùfi ÙÔ ÌÈÎÚfi ·È‰› ÛÙÔ ÁÂÌ¿ÙÔ fiÓÂÈÚ· Î·È ·Ï‹ıÂȘ ·Ú·Ì‡ıÈ ÙÔ˘Ø fiÙ·Ó „·Ú‡ÂÈ, ·›˙ÂÈ Î·È Û˘Ó·ÓÙ¿ ¿ÁÚÈ· ˙Ò· Ù˘ ˘·›ıÚÔ˘ Ù˘ ¡ÔÚ‚ËÁ›·˜. ™ÙÔ Ù¤ÏÔ˜, Ë ·ÏÂÔ‡
Ô˘ ·ÎÔÏÔ˘ıÔ‡Û ÙÔ ·ÁfiÚÈ ÛÎÔÙÒÓÂÙ·È Î·È ÌÈ· Ì˯·Ó‹ ÎÔ‹˜ ‰¤ÓÙÚˆÓ ¤ÊÙÂÈ ÛÙËÓ ‡·ÈıÚÔ, ˘ÂÓı˘Ì›˙ÔÓÙ¿˜ Ì·˜ ˆ˜ ‰ÂÓ Î¿ÓÔ˘Ì ·ÚÎÂÙ¿ ÁÈ· ÙÔ ÂÚÈ‚¿ÏÏÔÓ Ì·˜.
A man is thinking about his childhood. When he was a child, he found this world to be enormous big, wild and exiting. We follow this little boy’s fairytale of dreams and reality; when he is
out fishing, playing and meeting with wild animals in the wilderness of Norway. In the end, the
fox that has followed the boy, is shot, and a forestry-machine drops into the wilderness, reminding us that we’re not doing enough for our environment.
µÚ·‚›· Awards
Asgeir Helgestad
Special prize, The 3rd Matsalu International
Nature Film Festival.
°ÂÓÓ‹ıËη ÙÔ 1968. ∂ÚÁ¿˙ÔÌ·È ÁÈ· ‰È¿ÊÔÚ˜ ÂÙ·Èڛ˜, ÁÈ· ‰È¿ÊÔÚ· ‚‰ÔÌ·‰È·›· ÂÚÈÔ‰Èο ·fi ÙÔ 1991 ˆ˜ ηÏÏÈÙ¤¯Ó˘ ÔÏ˘Ì¤ÛˆÓ. ∞Û¯ÔÏÔ‡Ì·È Î·È Ì ÙË ÊˆÙÔÁÚ·Ê›· Î·È Ì ÙȘ Ù·Èӛ˜. Œ¯ˆ ÁÚ¿„ÂÈ ÙÚ›· ·È‰Èο ‚È‚Ï›·, Ù· ÔÔ›· ·ÁÔÚ¿ÛÙËÎ·Ó ·fi ÙË ÓÔÚ‚ËÁÈ΋ ΢‚¤ÚÓËÛË. ŒÓ·
ÌÂÙ·ÊÚ¿ÛÙËΠÛÙ· ÛԢˉÈο Î·È ‰‡Ô ÛÙ· ÊÈÓÏ·Ó‰Èο.
Asgeir Helgestad
Tommerveien 11
3622 Svene
Norway
Tel: +47 92603816
Email: [email protected]
Born 1968. I have been working for many different companies for different weekly magazines since I began as a professional "multimediaartist" in 1991. I am working both with stills-photo and film/video. I
have written three children’s books that are all main-books at booksellers club, and bought by Norwegian government. One of them has so
far been translated to Swedish language and two is translated to Finish.
ECOFILMS
ƒ√¢√™
2006
RODOS
87
∏ ∆ƒ∂§∞ ∆ø¡ ∞À∆√∫π¡∏∆ø¡
CAR CRAZE
√ÏÏ·Ó‰›·
The Netherlands, 2003
¢È¿ÚÎÂÈ· Running time: 12’ 30’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
RNTV / NIS
PO Box 222
1200 JG Hilversum, The Netherlands
Tel: +31-35-6724238
Fax: +31-35-7624489
Email: [email protected]
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ™¯Â‰È·ÛÌfi˜, ◊¯Ô˜
Director, Script, Design, Sound:
Evert de Beijer
¶·Ú·ÁˆÁfi˜ Producer: Willem Thijssen
™˘Ì·Ú·ÁˆÁ‹ Co-producers:
CinéTé, ARTE France & RNTV
Modeling, texturing & computer
animation: Evert de Beijer
ªÔ˘ÛÈ΋, MÔ˘ÛÈο Eʤ Music, Musical
Effects: Edwin van der Schrier (Ears & Eyes)
ºˆÓ¤˜ Voices: John Hartnett, Nicole
Parker, Randall Harr, Rachel Miller, Joe Kelly
™‡ÓÔ„ËSynopsis
ŒÓ·˜ ÂÚÈ‚·ÏÏÔÓÙÈÎfi˜ ÂÈıˆÚËÙ‹˜ ÍÂ̤ÓÂÈ Û ÌÈ· ͯ·Ṳ̂ÓË ÂÙÚÂÏ·ÈÔ‡ÔÏË Ë ÔÔ›· ‚Ú›ÛÎÂÙ·È
˘fi ÙËÓ Î˘ÚÈ·Ú¯›· ÙÂÚ·Ùˆ‰ÒÓ ·˘ÙÔÎÈÓ‹ÙˆÓ. ¢ÂÓ ÍÂÎÔ˘Ú¿˙ÂÙ·È Ô‡Ù ÌÈ· ÛÙÈÁÌ‹ ηٿ ÙË Û‡ÓÙÔÌË
‰È·ÌÔÓ‹ ÙÔ˘ Û ¤Ó· ÌÔÙ¤Ï. ∞ӷηχÙÂÈ ˆ˜ Ù· ·˘ÙÔΛÓËÙ· ÂÍÂÏ›ÛÔÓÙ·È Û ·Ú·ÛÈÙÈÎÔ‡˜ ÔÚÁ·ÓÈÛÌÔ‡˜, Ô˘ ÁËÙÂ‡Ô˘Ó ÙËÓ ·ÓıÚˆfiÙËÙ· Î·È ·›ÚÓÔ˘Ó ÙÔ˘˜ ˙ˆÙÈÎÔ‡˜ ¯˘ÌÔ‡˜ Ù˘ Á˘.
An ecological inspector gets stranded in a forgotten oil town, dominated by monstrous cars. His
short stay in a motel doesn't give him a moment's rest. He discovers that cars evolve into parasitic live forms, enchanting mankind and taking vital juices from the earth.
Evert de Beijer
°ÂÓÓ‹ıËΠÛÙËÓ √ÏÏ·Ó‰›· ÙÔ 1953, ÛÔ‡‰·Û ÛÙË ™¯ÔÏ‹ °Ú·ÊÈÛÙÈ΋˜ ηÈ
ÛÙËÓ ÎÚ·ÙÈ΋ Û¯ÔÏ‹ ∫·ÏÒÓ ∆¯ÓÒÓ ÛÙÔ ÕÌÛÙÂÚÓÙ·Ì, fiÔ˘ ·Û¯ÔÏ‹ıËΠÌÂ
ÙË ÊˆÙÔÁÚ·Ê›· Î·È ÙÔ ÎÈÓÔ‡ÌÂÓÔ Û¯¤‰ÈÔ. ™˘Ó¤¯ÈÛ ÙȘ ÛÔ˘‰¤˜ ÙÔ˘ ÛÙËÓ
∞η‰ËÌ›· ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ∆ËÏÂfiÚ·Û˘ Ì Âȉ›Î¢ÛË ÛÙË ÊˆÙÔÁÚ·Ê›·. ∆Ô 1979 ÔÏÔÎÏ‹ÚˆÛ ÙËÓ ÚÒÙË ÙÔ˘ Ù·ÈÓ›· ÎÈÓÔ˘Ì¤ÓˆÓ Û¯Â‰›ˆÓ
"Gerard". ∏ ‰Â‡ÙÂÚË Ù·ÈÓ›· ÙÔ˘ "The Characters" ΤډÈÛ ·ÚÎÂÙ¿ ‚Ú·‚›·
Û ÊÂÛÙÈ‚¿Ï. ∆Ô 1993 ÔÏÔÎÏ‹ÚˆÛ ÙËÓ Ù·ÈÓ›· "Hotel Narcis". ™˘Ó¤¯ÈÛ ӷ
·Ó·Ù‡ÛÛÂÈ ÙÔ ‡ÊÔ˜ ÙÔ˘ ÛÙÔ Û¯¤‰ÈÔ Û ٷÈӛ˜ ÎÈÓÔ˘Ì¤ÓˆÓ Û¯Â‰›ˆÓ ÙÔ ÔÔ›Ô ¯ÚËÛÈÌÔÔÈ› Î·È ÛÙÔ 3D ÎÈÓÔ‡ÌÂÓÔ Û¯¤‰ÈÔ ˘ÔÏÔÁÈÛÙ‹.
ºÈÏÌÔÁÚ·Ê›· Filmography
2003 Car Craze
1994 Hotel Narcis
1986 The Characters
1979 Gerard
Evert de Beijer
Jacob van Lennepstraat 294 hs
1053 KD Amsterdam
The Netherlands
Tel: +31-20-619866
Email: [email protected]
88
Born in Holland, 1953 and studied graphic design at the Graphic School
and the State Academy of Fine Arts in Amsterdam, where he became interested in photography and animated
filmmaking. He continued his studies at the Dutch Film and Television Academy specializing in camera work. In
1979 he completed his first animated film, "Gerard". His second film "The Characters" won awards at several festivals. In 1993 he completed "Hotel Narcis". He continued to develop his drawing style within the context of film animation and acquainted himself which he implements into 3D computer animation.
ECOFILMS
ƒ√¢√™
2006
RODOS
ª∏¡ ¶∂∆∞•∂π™ ∆π¶√∆∞
DON’T THROW ANYTHING AWAY
∂ÏÏ¿‰· Greece, 2005
¢È¿ÚÎÂÈ· Running time: 7’ 10’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Greek Film Centre
10 Panepistimiou Ave
10671 Athens
Greece
Tel: +30 2103648007
Fax: +30 2103614336
Email: [email protected]
www.gfc.gr
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ∂ÎÙ¤ÏÂÛË
¶·Ú·ÁˆÁ‹˜ Director, Script, Executive
Producer: πÔÚ‰¿Ó˘ ∞Ó·ÓÈ¿‰Ë˜ Iordanis
Ananiadis
µÔËıfi˜ ™ÎËÓÔı¤ÙË Assistant Director:
∑·¯·Ú›·˜ ∞Ó·ÓÈ¿‰Ë˜, ¡¤ÛÙ· ∞Ó·ÓÈ¿‰Ô˘
Zacharias Ananiadis, Nesta Ananiadou
∫¿ÌÂÚ· Camera: ∆¿Î˘ ¶·‰ËÌËÙÚ›Ô˘
Takis Papadimitriou
™¯¤‰ÈÔ Animation: πÔÚ‰¿Ó˘ ∞Ó·ÓÈ¿‰Ë˜,
∑·¯·Ú›·˜ ∞Ó·ÓÈ¿‰Ë˜ Iordanis Ananiadis,
Zacharias Ananiadis
◊¯Ô˜ Sound: £fi‰ˆÚÔ˜ µ·Ì‚Ô˘Ú¤Ï˘
Thodoros Vamvourelis
¶·Ú·ÁˆÁfi˜ Producer: ∂ÏÏËÓÈÎfi ∫¤ÓÙÚÔ
∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘, πÔÚ‰¿Ó˘ ∞Ó·ÓÈ¿‰Ë˜ Greek
Film Centre, Iordanis Ananiadis
πÔÚ‰¿Ó˘ ∞Ó·ÓÈ¿‰Ë˜
ªÔÙ¿ÛË 6
∞ı‹Ó·
Iordanis Ananiadis
6 Botasi st
∞thens, Greece
Tel: +30 2109848661
Fax: +30 2103835800
Email: [email protected]
™‡ÓÔ„ËSynopsis
ŒÓ· ÎÔ˘Ù› Ì ÌÈ· ÙÔÍÈ΋ Ô˘Û›· Á›ÓÂÙ·È ·ÊÔÚÌ‹ Ó· Ê·Ó› Ë ·ÏËÛÙ›· ÙˆÓ ·ÓıÚÒˆÓ ÁÈ· ÏÔ‡ÙË,
ÌÂ ¤Ó· ÙÂÚ¿ÛÙÈÔ ÎfiÛÙÔ˜ ÛÙÔ ÔÈÎÔÏÔÁÈÎfi Û‡ÛÙËÌ·!
A box with a toxic substance proves man’s greed and the terrible cost to the ecological system!
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Don’t throw anything away
2002 Overground
1996 We Greeks
1986 Adam
1983 The hole
1981 The Circle
1979 Zachos the masochist
1971 Feast
πÔÚ‰¿Ó˘ ∞Ó·ÓÈ¿‰Ë˜
°ÂÓÓ‹ıËΠÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ 1944. ™Ô‡‰·Û ÁÚ·ÊÈÛÙÈ΋, ˙ˆÁÚ·ÊÈ΋ Î·È ‰È·ÎfiÛÌËÛË ÂÛˆÙÂÚÈÎÒÓ ¯ÒÚˆÓ. ∆Ô 1966 ¤Î·Ó ÙȘ ÚÒÙ˜ ÙÔ˘
‰È·ÊËÌ›ÛÂȘ ÎÈÓÔ˘Ì¤ÓˆÓ Û¯Â‰›ˆÓ.
πordanis Ananiadis
Born in Thessaloniki in 1944. Studied design, painting and interior
decorating. In 1966 he made his first animated commercials.
ECOFILMS
ƒ√¢√™
2006
RODOS
89
√π∫√-¡∆∞ƒª∞
ECO DHARMA
πÓ‰›· India, 2006
¢È¿ÚÎÂÈ· Running time: 28’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Susi Kumar
SUSIART
D-1066 Second Floor, New Friends Colony
New Delhi 110065
Tel: +91 9810110908
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∂Ú¢ӷ, ™ÂÓ¿ÚÈÔ
Director, Research, Script:
ªalgorzata Skiba
∫¿ÌÂÚ· Camera: S. Kumar
ªÔÓÙ¿˙: Edit Malgorzata Skiba,
S. Manoharan
°Ú·ÊÈο Graphics: Divya Topa
ªÔ˘ÛÈ΋ Music: P. Vetri Boopathy,
Anil Mishra
∞Ê‹ÁËÛË Narration: Roysten Abel
◊¯Ô˜ Sound: S. Manoharan
∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜
Executive Producer: S. Kumar
¶·Ú·ÁˆÁfi˜ Producer: Rajiv Mehrotra
™‡ÓÔ„ËSynopsis
∏ ÈÛÙÔÚ›· Ù˘ Ù·ÈÓ›·˜ Ú·ÁÌ·Ù‡ÂÙ·È ÙËÓ ·ÊÔÛ›ˆÛË Î·È ÙË ı˘Û›· Ù˘ ÎÔÈÓfiÙËÙ·˜ Bishnoi ·fi ÙËÓ
¤ÚËÌÔ ÛÙÔ ‰˘ÙÈÎfi ƒ·Ù˙·ÛÙ¿Ó Ù˘ πÓ‰›·˜, Ù· ̤ÏË Ù˘ ÔÔ›·˜ Û˘Ó¯›˙Ô˘Ó ·fi ÙÔ 15Ô ·ÈÒÓ· ÙÔ ÈÂÚfi
ÙÔ˘˜ ηı‹ÎÔÓ (ÓÙ¿ÚÌ·, ÛÙ· Û·ÓÛÎÚÈÙÈο), Ó· ÚÔÛÙ·ÙÂ‡Ô˘Ó ÙÔ ÂÚÈ‚¿ÏÏÔÓ. ∏ ›ÛÙË ÙˆÓ Bishnoi
‚·Û›˙ÂÙ·È ÛÙÔ ÔÈÎÔÛ‡ÛÙËÌ· Ù˘ ÂÚ‹ÌÔ˘ Î·È ‰È·Ù˘ÒıËΠ·fi ÙÔÓ ÈÓ‰Ô˘ÈÛÙ‹ ÔÚ·Ì·ÙÈÛÙ‹ ÁÎÔ˘ÚÔ‡ Jammeshwarji Maharaj ÙÔ 1542 Ì.Ã., Ô ÔÔ›Ô˜ ¯ÚËÛÈÌÔÔ›ËÛ ¤Ó· ÈÛ¯˘Úfi ̤ÛÔ, ÙË ıÚËÛΛ·, ÁÈ· Ó· ÌÂÙ·‰ÒÛÂÈ ÛÙȘ Ì¿˙˜ ¤Ó· ˘ÁȤ˜, ÔÈÎÔÏÔÁÈÎfi ÌÔÓÙ¤ÏÔ ÎÔÈÓˆÓÈ΋˜ ‰È·‚›ˆÛ˘.
"Eco Dharma" tells the story of dedication and sacrifice of Bishnoi community from the desert of
Western Rajasthan, India which from XV century effectively continues their sacred duty (in Sanskrit, dharma) of protecting environment. Bishnoi faith is built on the desert eco-system, proclaimed by a Hindu visionary, Guru Jammeshwarji Maharaj in AD 1542, who used a powerful
medium, religion, to help masses assimilate with a healthy, eco-friendly social life style.
ºÈÏÌÔÁÚ·Ê›· Filmography
2000 Others are also us
1997 Jazz in the Persian Gulf
Tadeusz Kantor, the gentle tyrant
1995 Hans Dfirer fresco
ªalgorzata Skiba
ªalgorzata Skiba
°ÂÓÓ‹ıËΠÛÙËÓ ∫Ú·ÎÔ‚›· Ù˘ ¶Ôψӛ·˜ ÛÙȘ 16 ∞˘ÁÔ‡ÛÙÔ˘ ÙÔ 1971 ηÈ
·fi ÙÔ ª¿ÚÙË ÙÔ˘ 2001 ˙ÂÈ Î·È ÂÚÁ¿˙ÂÙ·È ÛÙÔ ¡¤Ô ¢Âϯ›, ·ÓÙÚÂ̤ÓË ÌÂ
ÙÔÓ πÓ‰fi ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙ‹ S. Kumar. ∞fiÊÔÈÙË ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘
Jagiellonian ÛÙËÓ ∫Ú·ÎÔ‚›· ÛÙÔ ÙÌ‹Ì· ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎÒÓ ÛÔ˘‰ÒÓ.
D-1066 Second Floor, New Friends Colony
New Delhi 110065
India
Tel: +91 9810121422
Email: [email protected]
Born in Poland, city of Krakow on 16th of August 1973, since March
2001 living and working in New Delhi married to Indian cinematographer Mr. S. Kumar. Graduate from Jagiellonian University, Krakow,
Poland, Film Studies M.A.
90
ECOFILMS
ƒ√¢√™
2006
RODOS
TA ¶∞¡∆∞ ƒ∂π
PANTA REI / EVERYTHING FLOWS
µÔÛÓ›·-∂Ú˙ÂÁÔ‚›ÓË
Bosnia-Herzegovina, 2005
¢È¿ÚÎÂÈ· Running time: 20’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Nisvet Hrustic’
Podgradina b.b.
72250 Vitez
Bosnia and Herzegovina
Tel: +387 61 372 370
Email: [email protected]
[email protected]
[email protected]
www.nisvet-hrustic.bhgsmservis.com
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·, ªÔÓÙ¿˙
Director, Camera, Edit: Nisvet Hrustic
∏ıÔÔÈÔ› Cast: Ibrahim Hrustic, Amra
Hrustic, Mesud Muslimovic, Zejrema Zejnic,
Tenzila Alagic, Fikreta Hercegovac , Mahmut
Hrustic, Muharem Subasic, Kemal Hrustic,
Kadir Hrustic, Ehlimana Hrustic, Sabina
Hrustic, Redzo Subasic, Fuad Hrustic
™‡ÓÔ„ËSynopsis
∆Ô ÓÙÔÎÈÌ·ÓÙ¤Ú Ú·ÁÌ·Ù‡ÂÙ·È ÙË Á¤ÓÓËÛË Î·È ÙÔ ı¿Ó·ÙÔ ÙˆÓ ÂÔ¯ÒÓ ÛÙ· Ì¿ÙÈ· ÙˆÓ ·È‰ÈÒÓ. √
πÌÚ·‹Ì Î·È Ë ÕÌÚ· ÃÚÔ‡ÛÙÈÙ˜ ·›˙Ô˘Ó ·Ó¤ÌÂÏ· ÛÙÔÓ ÔÈÎÈÛÌfi ÙÔ˘˜ Û ‰È¿ÊÔÚ˜ ÂÔ¯¤˜. ¢ÂÓ ˘¿Ú¯ÂÈ
ÏfiÁÔ˜ ÛÙËÓ Ù·ÈÓ›· ÒÛÙ ӷ ÂÈÙ¢¯ı› ÈÛ¯˘ÚfiÙÂÚË „¢‰·›ÛıËÛË Ì¤Ûˆ Ù˘ ÂÈÎfiÓ·˜ Î·È ÙˆÓ ‹¯ˆÓ.
The documentary movie "Panta Rei" (old Greek preoverb from Heraclitus "Everything flows") is
about "birth and death" of seasons in the eyes of the children. Ibrahim and Amra Hrustic are
playing carelessly in their settlement in different seasons. There is no speech in film so greater illusion would be created utilising picture and sounds.
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 More Than That
2005 Panta Rei
2004 Tree is like a man
2002 De mea vita
1995 People of the lights
1994 Travnik's fragments
Nisvet Hrustiãc
°ÂÓÓ‹ıËΠÙÔ 1956 ÛÙÔ µ›ÙÂ˙, ÛÙË µÔÛÓ›·-∂Ú˙ÂÁÔ‚›ÓË, fiÔ˘ ˙ÂÈ Î·È ÂÚÁ¿˙ÂÙ·È. ∆Ô 1973 ·ÊÈÂÚÒıËΠÛÙËÓ ·ÛÚfiÌ·˘ÚË Î·È ¤Á¯ÚˆÌË ÊˆÙÔÁÚ·Ê›·, ‰Ô˘Ï‡ÔÓÙ·˜ ˆ˜ ·ÓÂÍ¿ÚÙËÙÔ˜ ÛÙËÓ ÂÂÍÂÚÁ·Û›· ÂÈÎfiÓ·˜.
∂ÚÁ¿ÛÙËΠˆ˜ οÌÂÚ·Ì·Ó Î·È ÌÔÓÙ¤Ú ÛÙËÓ ÙËÏÂfiÚ·ÛË, ·Û¯ÔÏ‹ıËΠÌÂ
ÙËÓ ·Ú·ÁˆÁ‹, ÙÔ ÌÔÓÙ¿˙ Î·È ÙË ÌÂÙ·ÁÏÒÙÙÈÛË ÎÈÓÔ˘Ì¤ÓˆÓ Û¯Â‰›ˆÓ.
Nisvet Hrustiãc
Podgradina b.b.
72250 Vitez
Bosnia and Herzegovina
Tel: +387 61 372 370
Email: [email protected]
[email protected]
[email protected]
www.nisvet-hrustic.bhgsmservis.com
He was born in Vitez (year 1956.), Bosnia and Hezegovina, where he
lives and works now. He engaged himself in 1973 in black-white and
colour photography, working completely independently on elaboration. He worked as camerman and editor, he was engaged in producer's work, editing and synchronization of cartoons.
ECOFILMS
ƒ√¢√™
2006
RODOS
91
∆A´∑√¡∆∞™ ∆π™ ¶∞¶π∂™
EENDJES VOEREN / FEEDING THE DUCKS
√ÏÏ·Ó‰›·
The Netherlands, 2005
¢È¿ÚÎÂÈ· Running time: 9’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
PLU-films
PAKT-gebouw, Zeeburgerpad 53,
NL-1019 AB Amsterdam
The Netherlands
Tel: +31 203302304
Fax: +31 203302304
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: Eugenie Jansen
ŒÚ¢ӷ Research: Linda de Kooning,
volunteers film archive Smalfilmmuseum
ªÔÓÙ¿˙ Edit: Patrick Minks
◊¯Ô˜ Sound: Albert Elings
¶·Ú·ÁˆÁÔ› Producers: Linda de Kooning,
Patrick Minks, Henk Verheul
™‡ÓÔ„ËSynopsis
ºÈÏÌÔÁÚ·Ê›· Filmography
Using amateur footage dating back as far as 1910, director Eugenie Jansen confronts our idyllic
childhood memories with the harsh consequences of our actions. In the same way people film
their children feeding the ducks to record the transience of the susceptible eye of a child, the
film makes a plea for seeing life as good and pleasant. Although we should know better. Thinking of feeding the ducks as an act of innocence is an illusion, after all.
2005 Eendjes Voeren, 9’
Voorland, 70’
2003 De Regels Van Het Vliegen, 10’
De Knipoogmachine, 83’
2001 Wolkenridders & Luchtkastelen, 50’
2000 Het Abc Van Leandra, 15’
Kitty, 25’
1998 Nonnevotte, 25’
La Cometa, 25’
1997 Anatopia, 50’
1996 Vogelvrij, 48’
ÃÚËÛÈÌÔÔÈÒÓÙ·˜ ÂÚ·ÛÈÙ¯ÓÈÎfi ˘ÏÈÎfi ¤ˆ˜ Î·È ·fi ÙÔ 1910, Ë ÛÎËÓÔı¤Ù˘ Eugenie Jansen ·ÓÙÈ·Ú·ı¤ÙÂÈ ÙȘ Â͈ڷ˚Ṳ̂Ó˜ ·È‰ÈΤ˜ Ì·˜ ÌӋ̘ Ì ÙȘ ÛÎÏËÚ¤˜ Û˘Ó¤ÂȘ ÙˆÓ Ú¿ÍÂˆÓ Ì·˜. Ÿˆ˜
ÔÈ ÁÔÓ›˜ Ì·ÁÓËÙÔÛÎÔÔ‡Ó Ù· ·È‰È¿ ÙÔ˘˜ ÂÓÒ Ù·˝˙Ô˘Ó ÙȘ ¿Ș ÁÈ· Ó· ÎÚ·Ù‹ÛÔ˘Ó ÙËÓ ·ÚÔ‰ÈÎfiÙËÙ· Ù˘ ·ıˆfiÙËÙ·˜ ÙÔ˘ ·È‰ÈÎÔ‡ ‚ϤÌÌ·ÙÔ˜, ¤ÙÛÈ Î·È Ë Ù·ÈÓ›· ˙ËÙ¿ Ó· ‚ϤÔ˘Ì ÙË ˙ˆ‹ ˆ˜ ηϋ Î·È Â˘¯¿ÚÈÛÙË. ∫È ·˜ ÁÓˆÚ›˙Ô˘Ì ÙËÓ ·Ï‹ıÂÈ·. ∆ÂÏÈο, Â›Ó·È ·˘Ù·¿ÙË Ó· ıˆÚԇ̠ÙÔ Ù¿ÈÛÌ·
ÙˆÓ ·ÈÒÓ ˆ˜ Ú¿ÍË ·ıˆfiÙËÙ·˜.
Eugenie Jansen
°ÂÓÓ‹ıËΠÙÔ 1965 ÛÙÔ ª¿·ÛÙÚȯ. ∞ÔÊÔ›ÙËÛ ÙÔ 1991 ·fi ÙËÓ ∞η‰ËÌ›· ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ∆ËÏÂfiÚ·Û˘ ÛÙËÓ √ÏÏ·Ó‰›· Ì ÙËÓ Ù·ÈÓ›·
Ì˘ıÔÏ·Û›·˜ "Koekoekskinderen". Œ¯ÂÈ ‰Ô˘Ï¤„ÂÈ ˆ˜ ‚ÔËıfi˜ ÛÎËÓÔı¤ÙË Û ·ÚÎÂÙ¤˜ Ù·Èӛ˜ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Î·È ˆ˜ ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú.
Eugenie Jansen
Spuistraat 219
1012 VN Amsterdam
The Netherlands
Tel: +31.20.6387378
Fax: +31.20.6387378
Email: [email protected]
92
Born in 1965, in Maastricht. Graduated in 1991 from the Dutch Film
and Television Academy with her fiction film "Koekoekskinderen".
She worked as assistant director for several feature films and as documentary maker.
ECOFILMS
ƒ√¢√™
2006
RODOS
∆√ ¢∞™√™ Ã√ƒ∂À∂π
THE FOREST DANCES
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 35’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Phos Productions
El. Venizelou 75
Holargos 15561
Athens Greece
Tel: +30 697 4328808
Fax: +30 210 6511845
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: ¶·Ó·ÁÈÒÙ˘
™·Ï·¿Ù·˜ Panayiotis Salapatas
™ÂÓ¿ÚÈÔ, ¶·Ú·ÁˆÁfi˜ Script, Producer:
∂ϤÓË ∞ÎÙÛ›Ì·ÛË Eleni Atsikbasis
ªÔÓÙ¿˙ Edit: ∆˙·Ó¤ÙÔ˜ ∫ÔÌÈÓ¤·˜
Tzannetos Komineas
◊¯Ô˜ Sound: £Ô‰ˆÚ‹˜ ªÂÏ‹˜
Theodoris Melis
∫ÔÛÙÔ‡ÌÈ· Costumes: ∞ÓÙˆÓ›·
¶··‰ÔÔ‡ÏÔ˘ Antonia Papadopoulos
ÃÔÚÔÁÚ¿ÊÔ˜ Choreographer:
¡¤Ó· ªÔ˘Ú·ÙfiÁÏÔ˘-¶··ÁˆÚÁ›Ô˘
Nena Mouratoglou-Papageorgiou
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 The Forest Dances
2003 Commercial spot for the Dukas
Educational Complex
2000 Malgre les Apparences
Panayiotis Salapatas
23-25 Paparigopoulou Street
Athens
Greece
Tel: +30 2106450462
Email: [email protected]
™‡ÓÔ„ËSynopsis
∏ Ù·ÈÓ›· ηٷÁÚ¿ÊÂÈ ÌÈ· ÔÌ¿‰· ·È‰ÈÒÓ Î·È ÂÊ‹‚ˆÓ Ô˘ ÚÔÛ·ıÔ‡Ó Ó· ¤ÚıÔ˘Ó Û Â·Ê‹ Ì ÙÔ
ÛÒÌ· ÙÔ˘˜ Ì ÙËÓ Î·ıÔ‰‹ÁËÛË Ù˘ ‰·ÛοϷ˜ ÙÔ˘˜ ¡¤Ó·. ªfiÏȘ ‰ڷȈı› ·˘Ù‹ Ë Â·Ê‹, ÔÈ ¯ÔÚÂ˘Ù¤˜ Ú¤ÂÈ Ó· ¤ÚıÔ˘Ó Û Â·Ê‹ Ì ÌÂÁ·Ï‡ÙÂÚ· ÛÒÌ·Ù· fiˆ˜ ÙÔ ÂÚÈ‚¿ÏÏÔÓ Î·È Ó· ·ÓÔȯÙÔ‡Ó
Û ·ÓÂÍÂÚ‡ÓËÙÔ˘˜ ÂÛˆÙÂÚÈÎÔ‡˜ ÎfiÛÌÔ˘˜.
"The Forest Dances" traces a group of children and adolescents as they struggle to connect with
their bodies under the guidance of their teacher, Nena. Once the connection with their bodies is
established the dancers are positioned to connect with larger bodies like, the environment and
to open up to unexplored inner worlds.
¶·Ó·ÁÈÒÙ˘ ™·Ï·¿Ù·˜
°ÂÓÓ‹ıËΠÛÙÔ ™›‰ÓÂ˚, ÛÙËÓ ∞˘ÛÙÚ·Ï›·, ·ÔÊÔ›ÙËÛ ÙÔ 1984 ·fi ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ÙÔ˘ ™›‰ÓÂ˚ Ì Bachelor of Arts ÛÙ· ıˆÚËÙÈο Ì·ıËÌ·ÙÈο ηÈ
ÛÙË ÎÏ·ÛÛÈ΋ ÊÈÏÔÏÔÁ›· Û ÌÂÙ¿ÊÚ·ÛË. ™˘Ó¯›˙ÂÈ ÙȘ ÛÔ˘‰¤˜ ÙÔ˘ ÛÙË ¡¤·
ÀfiÚÎË Î·È ÛÙÔ §Ô˜ ÕÓÙ˙ÂϘ. ∂ÚÁ¿ÛÙËΠˆ˜ ÛÎËÓÔı¤Ù˘ Ù·ÈÓÈÒÓ ÌÂÁ¿ÏÔ˘
Ì‹ÎÔ˘˜ Î·È ÓÙÔÎÈÌ·ÓÙ¤Ú Û fiÏÔ ÙÔÓ ÎfiÛÌÔ. ∆Ô 2005 ‰ÈÔÚ›ÛÙËΠηıËÁËÙ‹˜
ʈÙÔÁÚ·Ê›·˜ ÛÙÔ ∆Ì‹Ì· ∫ÈÓËÌ·ÙÔÁÚ·ÊÈÎÒÓ ™Ô˘‰ÒÓ ÙÔ˘ ∞ÚÈÛÙÔÙÂÏ›Ԣ ¶·ÓÂÈÛÙËÌ›Ô˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË.
Panayiotis Salapatas
Born in Sydney, Australia, his first degree is Bachelor of Arts (Pure Mathematics) and Classical Literature in
Translation from Sydney University (1984). His studies continue in New York and in Los Angeles. Panayiotis
has worked as a filmmaker on feature film and documentary all over the world. In 2005, Panayiotis was appointed to teach cinematography for the Film School at the Aristotelian University of Thessaloniki, Greece.
ECOFILMS
ƒ√¢√™
2006
RODOS
93
∆π √ª√ƒº∏ ¶√À ∂π¡∞π ™∏ª∂ƒ∞ ∏ ∫ø¡™∆∞¡∆π¡√À¶√§∏
BUGUN ISTANBUL NE KADAR GUZEL
HOW BEAUTIFUL ISTANBUL IS TODAY
∆Ô˘ÚΛ· Turkey, 2005
¢È¿ÚÎÂÈ· Running time: 5’ 28’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Belmin Soylemez, Hasmet Topaloglu
PK.244 Beyoglu
34431 Istanbul
Turkey
Tel: +90 212 2527255
Email: [email protected],
[email protected]
www.belminsoylemez.com
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ· Director, Camera:
Belmin Soylemez, Hasmet Topaloglu
ªÔÓÙ¿˙, ◊¯Ô˜, ¶·Ú·ÁˆÁfi˜:
Edit, Sound, Producer: Hasmet Topaloglu
™‡ÓÔ„ËSynopsis
∆ËÓ ·Ú·ÌÔÓ‹ ÙˆÓ ÙÔÈÎÒÓ ÂÎÏÔÁÒÓ, Ë ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË Â›Ó·È ÛÙÔÏÈṲ̂ÓË Ì ¤Ó· ÛÎËÓÈÎfi ·fi
·Ê›Û˜, ·Ófi Î·È ÛËÌ·›Â˜. ª·˜ ÂÌÔ‰›˙ÂÈ Ó· ‰Ô‡Ì ÙËÓ Ú·ÁÌ·ÙÈ΋ fiÏË. ∂›Ì·ÛÙ ÂÚÈ΢Îψ̤ÓÔÈ ·fi ·Ê›Û˜ Î·È Û˘Óı‹Ì·Ù·. ∆· Á˘Ú›ÛÌ·Ù· ÎÚ¿ÙËÛ·Ó ÌÈ· ‚‰ÔÌ¿‰· Î·È ·˘Ùfi Ô˘ Ì·˜ ÂͤÏËÍ ‹Ù·Ó Ë ·‰È·ÊÔÚ›· ÙÔ˘ ÎfiÛÌÔ˘, Ô˘ ·ÏÒ˜ ·ÁÓÔÔ‡Û ÙȘ ·Ê›Û˜ Î·È ÙȘ ÚÔÛÂÚÓÔ‡ÛÂ.
ºÈÏÌÔÁÚ·Ê›· Filmography
Belmin Soylemez
2005 34 Taxi
2003 The Picture of My Life
2001 Waves
ZAP!
2000 The Moustache
On the eve of the local elections, Istanbul is dressed with a stage-set built of posters, banners
and flags. It prevents us from seeing the real city. We are surrounded by posters and messages.
The filming took one week, and what struck us the most was the indifference of the people who
just ignored the posters and walked by.
Belmin Soylemez
Hasmet Topaloglu
2005 Five Construction Masters
How beautiful is Istanbul today
2004 Black on Yellow"
°ÂÓÓ‹ıËΠÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ∂ÚÁ¿ÛÙËΠˆ˜ ·ÚıÚÔÁÚ¿ÊÔ˜, ÌÔÓÙ¤Ú, ÛÎËÓÔı¤Ù˘ Î·È ·Ú·ÁˆÁfi˜.
Born in Istanbul. She worked as copy writer, editor, director and producer.
Belmin Soylemez
Hasmet Topaloglu
Hasmet Topaloglu
PK.244 Beyoglu
34431 Istanbul
Turkey
Tel: +90 212 2527255
Email: [email protected],
[email protected]
www.belminsoylemez.com
94
°ÂÓÓ‹ıËΠÙÔ 1968. ∞fi ÙÔ 2002 ÂÚÁ¿˙ÂÙ·È ˆ˜ ÂχıÂÚÔ˜ Â·ÁÁÂÏÌ·Ù›·˜ ÛÙËÓ ·Ú·ÁˆÁ‹ Î·È ÙË ÛÎËÓÔıÂÛ›·.
Born in 1968. Since 2002 he is working as a freelance director/producer.
ECOFILMS
ƒ√¢√™
2006
RODOS
∏ √π∫∂π√∆∏∆∞ ∆ø¡ •∂¡ø¡
THE INTIMACY OF STRANGERS
∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ UK, 2005
¢È¿ÚÎÂÈ· Running time: 19’ 35’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
National Film and Television School (UK)
Hemant Sharda
Beaconsfield Studios
Station Road
Beaconsfield
Bucks HP9 1LG
∆el: +44 (0) 1494 731 452
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: Eva Weber
∫¿ÌÂÚ· Camera: Catherine Derry, Per
Tingleff
ªÔÓÙ¿˙ Editor: Emiliano Battista
◊¯Ô˜ Sound: Dan Johnson
ªÔ˘ÛÈ΋ Music: David Schweitzer
¶·Ú·ÁˆÁfi˜ Producer Samantha Zarzosa
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 The Intimacy of Strangers
2000 Makings of a Queen
1996 Dyke Blend
1995 Disgraceful Conduct
1994 Stealing Desire
Eva Weber
10 Kemp House
Sewardstone Road
London E2 9JL
United Kingdom
Tel: +44 7980 809911
Email: [email protected]
www.theintimacyofstrangers.com
™‡ÓÔ„ËSynopsis
∫¿ÔÙ ÚÔÛ·ıÔ‡Û˜ Ó· ·ÎÔ‡ÛÂȘ ÙȘ Û˘˙ËÙ‹ÛÂȘ ÙˆÓ ¿ÏψÓ, ÙÒÚ· Ú¤ÂÈ Ó· ÚÔÛ·ı‹ÛÂȘ
ÁÈ· Ó· ÌËÓ ÙȘ ·ÎÔ‡ÛÂȘ. ∏ Ù·ÈÓ›· Â›Ó·È ÌÈ· ÈÛÙÔÚ›· ÁÈ· ÙË ˙ˆ‹, ÙËÓ ·Á¿Ë, ÙËÓ ·ÒÏÂÈ· Î·È ÙËÓ ÂÏ›‰·, ‰ÔÌË̤ÓË ·fi ·ÏËıÈÓ¤˜, ηٷÁÂÁÚ·Ì̤Ó˜ Û˘ÓÔÌÈϛ˜ ·fi ÎÈÓËÙ¿ ÙËϤʈӷ Ù˘¯·›ˆÓ ͤӈÓ.
You used to have to make an effort to overhear other people's conversations, now you have to
make an effort not to. "The Intimacy of Strangers" is a story of life, love, loss and hope – entirely
constructed out of real, overheard mobile phone conversations of random strangers.
Eva Weber
∂ÚÁ¿˙ÂÙ·È ˆ˜ ·ÓÂÍ¿ÚÙËÙË ÛÎËÓÔı¤Ù˘ ÛÙÔ ∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ. ∏ Ù·ÈÓ›·
·˘Ù‹ ·ÔÙÂÏ› ÙËÓ Ù˘¯È·Î‹ Ù˘ Ù·ÈÓ›· ÁÈ· ÙÔ ÚfiÁÚ·ÌÌ· Development
Lab, ¤Ó· ÌÂÙ·Ù˘¯È·Îfi ÂÙ‹ÛÈÔ ÚfiÁÚ·ÌÌ· ÙÔ˘ National Film and
Television School. °ÂÓÓ‹ıËΠÛÙË °ÂÚÌ·Ó›·, ‹Á ÛÙÔ ∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ ÁÈ· Ó· ÛÔ˘‰¿ÛÂÈ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ Î·È ÙËÏÂfiÚ·ÛË ÛÙÔ Goldsmiths’
College. Œ¯ÂÈ Ù˘¯›· ÛÙȘ ∂ÈÎÔÈӈӛ˜ Î·È ÌÂÙ·Ù˘¯È·Îfi Ù›ÙÏÔ ÛÙËÓ ∆ËÏÂfiÚ·ÛË.
Eva is currently working as a freelance director in the UK. This is her
graduation film from the Project Development Lab, an advanced,
one-year programme, at the National Film and Television School
(UK). Born in Germany, Eva originally came to the UK to study film and television at Goldsmiths’ College. She
has a BA in Communications and an MA in Television Drama.
ECOFILMS
ƒ√¢√™
2006
RODOS
95
∫√À∑π¡∞
KITCHEN
°·ÏÏ›· France, 2005
¢È¿ÚÎÂÈ· Running time: 15’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Alice Winocour
C/O Dharamsala
13/15 Rue Gaston Latouche
92210 St-Cloud
France
Tel:+33(0)141122041
Fax:+33(0)141122042
Email: [email protected]
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ Director, Script:
Alice Winocour
∫¿ÌÂÚ· Camera: Aurélien Devaux
◊¯Ô˜ Sound: Frédéric Heinrich
ªÔÓÙ¿˙ Edit: Florence Bresson
∏ıÔÔÈÔ› Cast: Elina Lowensöhn,
Bernard Nissile
™‡ÓÔ„ËSynopsis
ªÈ· Á˘Ó·›Î·, Ô Û‡˙˘Áfi˜ Ù˘, ‰‡Ô ·ÛÙ·ÎÔ›… ªÈ· Û˘ÓÙ·Á‹ Ô˘ ¯·Ï¿ÂÈ…
A woman, her husband, two lobsters… A recipe that turns sour…
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Kitchen, 15’
2001 Maltonius Olbren, 7’ 20’’
1999 Al Dente, 7’
Alice Winocour
∞fiÊÔÈÙÔ˜ Ù˘ ∫Ú·ÙÈ΋˜ ™¯ÔÏ‹˜ √ÙÈÎÔ·ÎÔ˘ÛÙÈÎÒÓ ª¤ÛˆÓ, ÙÌ‹Ì· ÛÂÓ·Ú›Ô˘. ∆Ô 2004 ΤډÈÛ ÙÔ Junior Trophy ηχÙÂÚÔ˘ ÛÂÓ·Ú›Ô˘ ÁÈ· ÙËÓ
Ù·ÈÓ›· "Augustine". ∆ËÓ ›‰È· ¯ÚÔÓÈ¿ ¤ÁÚ·„Â Î·È ÛÎËÓÔı¤ÙËÛ ÙËÓ Ù·ÈÓ›·
"Kitchen" ÙËÓ ÚÒÙË Ù˘ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ Ù·ÈÓ›·.
Alice Winocour
A graduate from the Femis (screenplay department), Alice Winocour
won the Junior Trophy in 2004 for the best Sopadin screenplay with
"Augustine". The same year, she writes and directs "Kitchen", her first
short film.
22 rue du Petit Musc
75004 Paris
France
Email: [email protected]
96
ECOFILMS
ƒ√¢√™
2006
RODOS
ª∞°∂π∞
O MAGO / THE MAGE
µÚ·˙ÈÏ›· Brazil, 2005
¢È¿ÚÎÂÈ· Running time: 3’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
www.cinemadepoesia.art.br
™ÎËÓÔıÂÛ›·, ∫¿ÌÂÚ·,
ªÔÓÙ¿˙, ¶·Ú·ÁˆÁfi˜ Director, Camera,
Edit, Producer:
André Scucato, Cristina Pinheiro
ªÔ˘ÛÈ΋ Music: Pastorale (Igor Stravinsky)
™‡ÓÔ„ËSynopsis
∏ Ì·Á›· Î·È Ë Ê‡ÛË Ù˘.
The mage and its nature.
André Scucato
¶ÔÈËÙ‹˜, ÂÚ¢ÓËÙ‹˜ ÏfiÁÔ˘ Î·È ÌÔ˘ÛÈ΋˜. ª·˙› Ì ÙËÓ Cristina Pinheiro
‰ËÌÈÔ‡ÚÁËÛ·Ó Û ÂÚ›Ô‰Ô ÂÓfi˜ ¯ÚfiÓÔ˘ 50 Ù·Èӛ˜ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ ηÈ
ÓÙÔÎÈÌ·ÓÙ¤Ú. ∞˘Ù‹ ÙËÓ ÂÚ›Ô‰Ô ·Û¯ÔÏÂ›Ù·È Ì ÙËÓ Ù·ÈÓ›· Antonin Van
Artaud Gogh Ô˘ ·ÊËÁÂ›Ù·È ÙËÓ ÈÛÙÔÚ›· ÙÔ˘ ∞ÚÙfi Î·È ÙÔ˘ µ·Ó °ÎÔÓÁÎ.
Poet, researcher of language and music, in little more than one year together with Cristina Pinheiro, produced 50 short films, documentaries
and currently works in the film Antonin Van Artaud Gogh that counts
the history of Antonin Artaud and Van Gogh.
André Scucato
Tel: +55 21-93165575
Email: [email protected]
Cristina Pinheiro
∏ıÔÔÈfi˜ Î·È ÛÎËÓÔı¤Ù˘. ÿ‰Ú˘Û ÙÔ ™›ÙÈ ÙˆÓ ∆¯ÓÒÓ ÛÙË Laranjeiras ÛÙÔ ƒ›Ô ÓÙ ∆˙·Ó¤ÈÚÔ. ∞˘Ù‹ ÙËÓ ÂÚ›Ô‰Ô
ÂÙÔÈÌ¿˙ÂÈ ÙËÓ ÚÒÙË ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Ù·ÈÓ›· Ù˘ ÔÌ¿‰·˜ Cinema of Poetry, Antonin Van Artaud Gogh.
Cristina Pinheiro
Tel: +55 21-92120875
Email: [email protected]
Actress and director. Formed the House of the Arts of Laranjeiras (CAL/Rio de Janeiro/Brasil). Currently works
on the first feature film of the Cinema of Poetry, Antonin Van Artaud Gogh.
ECOFILMS
ƒ√¢√™
2006
RODOS
97
™∫À§√ª∞¡∆∂ƒ
MUTTUMENTARY
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 15’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Angelike Contis
P.O. Box 18071, Athens
Greece 11610
Tel: +30 2107011659
Email: [email protected]
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ∫¿ÌÂÚ·, ªÔÓÙ¿˙
Director, Script, Camera, Edit:
Angelike Contis
ªÔ˘ÛÈ΋ Music: Jez Bentley
∞Ê‹ÁËÛË Narration: George Gilson
ºˆÓ¤˜ Voices: ∞ÏÂÍ›· ∞Ì‚Ú¿˙Ë, ¡Ù›ÓÔ˜
¶··˙¿¯Ô˜, KÚ›ÛÙ˘ ¶··‰ÔÔ‡ÏÔ˘, ¶¿ÚȘ
∞ÁÈÔÌ·Ì›Ù˘, Sandrine Cheyrol
Alexia Amvrazi, Dinos Papazaxos,
Christy Papadopoulou,
Paris Agiomamitis, Sandrine Cheyrol
™‡ÓÔ„ËSynopsis
ºÈÏÌÔÁÚ·Ê›· Filmography
Though the tone is light, the tales of eight adopted stray dogs are full of drama and duress. Zappy grew up amongst ancient ruins. Frangos was thrown out with the trash. Liza didn’t know the
word "fetch". Today, Mozart is obsessed with chasing balls, while Ivan prefers cars. Ari has three
legs, but plenty of barks to go around. Gamine, a jittery young mother is learning to relax, while
Merenga has a flair for dance. Together, these stories, which often include the dog’s point-ofview, shed light on Athens’ thousands of less lucky canines.
2005 Olympic Diaries, 42’
2004 Run Natasha Run, 52’
2001 24 Hours in the Village, 20’
1998 From Hip Hop to Zeimbekiko: The
Hellenic Dancers of New Jersey, 17’
ªÔÚ› ÔÈ ÈÛÙÔڛ˜ ÔÎÙÒ ÚÒËÓ ·‰¤ÛÔÙˆÓ Û΢ÏÈÒÓ Ó· Â›Ó·È ÁÂÌ¿Ù˜ ¯ÈÔ‡ÌÔÚ ·ÏÏ¿ Û˘Á¯ÚfiÓˆ˜
ÛÙËÓ ·Ê‹ÁËÛ‹ ÙÔ˘˜ ÎÚ‡‚ÔÓÙ·È ÙÔ ‰Ú¿Ì· Î·È ÔÈ ‰˘ÛÎÔϛ˜ Ù˘ «·‰¤ÛÔÙ˘ ˙ˆ‹˜». ∏ ∑¿˘ ÌÂÁ¿ÏˆÛ ÛÙ· ÂÚ›È· ÙÔ˘ √Ï˘Ì›Ô˘ ¢Èfi˜. ∫¿ÔÈÔ˜ ¿ÊËÛ ÙÔÓ ºÚ¿ÓÁÎÔ ÛÙÔ ÛÎÔ˘ȉÔÙÂÓÂΤ. ∏ §›˙·
‰ÂÓ ‹ÍÂÚ ÙË ÛËÌ·Û›· Ù˘ Ϥ͢ «Ê¤ÚÂ!». ™‹ÌÂÚ· ÙÔ˘ ªfiÙÛ·ÚÙ ÙÔ˘ ·Ú¤ÛÂÈ Ó· ΢ÓËÁ¿ ÙȘ Ì¿Ï˜.
√ π‚¿Ó ¿ÏÈ ÚÔÙÈÌ¿ÂÈ Ù· ·˘ÙÔΛÓËÙ·. √ ÕÚ˘ ÌÔÚ› Ó· ¤¯ÂÈ ÌfiÓÔ ÙÚ›· fi‰È·, ·ÏÏ¿ Â›Ó·È ‚·ÛÈÏÈ¿˜
ÙÔ˘ ‰ÈÎÔ‡ ÙÔ˘ ÎfiÛÌÔ˘. ∏ °Î·Ì›Ó, ÌÈ· Ó·ڋ ÌËÙ¤Ú·, Ì·ı·›ÓÂÈ Ó· ÌËÓ Â›Ó·È Ó¢ÚÈ΋. ∏ ª·Ú¤Áη
Ï·ÙÚ‡ÂÈ ÙÔ ¯ÔÚfi. ∞˘Ù¤˜ ÔÈ ÈÛÙÔڛ˜, Ô˘ ÔÏϤ˜ ÊÔÚ¤˜ ·›ÚÓÔ˘Ó ÙËÓ ÔÙÈ΋ ÁˆÓÈ¿ ÙˆÓ ÙÂÙÚ¿Ô‰ˆÓ Ê›ÏˆÓ Ì·˜, Ú›¯ÓÔ˘Ó ÌÈ· Ì·ÙÈ¿ ÛÙËÓ ÂÈÎfiÓ· ÙˆÓ Ï›ÁÔ ÈÔ Ù˘¯ÂÚÒÓ ·fi Ù· ¯ÈÏÈ¿‰Â˜ ·‰¤ÛÔÙˆÓ
ÛÎ‡ÏˆÓ Ù˘ ∞ı‹Ó·˜.
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
Angelike Contis
Angelike Contis
∏ Angelike Contis Â›Ó·È ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ Î·È ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú.
ªÂÁ¿ÏˆÛ ÛÙËÓ AÌÂÚÈ΋, ÛÔ‡‰·Û ÛÙÔ ∏arvard Î·È ˙ÂÈ ÛÙËÓ ∞ı‹Ó·
ÂÓÓÈ¿ ¯ÚfiÓÈ·. °Ú¿ÊÂÈ Û ‰È¿ÊÔÚ· ¤ÓÙ˘· ÛÙËÓ ∂ÏÏ¿‰· Î·È ÛÙȘ ∏¶∞.
P.O. Box 18071, Athens
Greece 11610
Tel: +30 2107011659
Email: [email protected]
Angelike Contis is a journalist and documentary maker. She grew up
in the US, studied at Harvard and has lived in Athens for the past nine
years. She writes for various publications in Greece and the US.
2006 Thessaloniki Documentary Festival
98
ECOFILMS
ƒ√¢√™
2006
RODOS
√ ºπ§√™ ª√À, ∫Àƒπ√™ ∆∞Àƒ√™
MY FRIEND, MR BULL
∏ӈ̤ӷ ∞Ú·‚Èο ∂ÌÈÚ¿Ù·
United Arab Emirates, 2005
¢È¿ÚÎÂÈ· Running time: 21’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Masoud Amralla Al Ali
EFC Director
Cultural Foundation
Abu Dhabi
Khaldia Street
P.O. Box 2380
Tel: +971 2 6211 323
Fax: +971 2 6210 205
Email: [email protected]
www.efilmc.com
™ÎËÓÔı¤Ù˘, ªÔÓÙ¿˙, ¶·Ú·ÁˆÁfi˜
Director, ∂dit, Producer: Majed Neisi
∫¿ÌÂÚ· Camera: Majed Neisi,
Abdullah Hassan Ahmed
™‡ÓÔ„ËSynopsis
∏ ˙ˆ‹ ÂÓfi˜ ¿ÓÙÚ· ·fi Ù· ∂ÌÈÚ¿Ù· Ô˘ Ï·ÙÚ‡ÂÈ ÙȘ Ù·˘ÚÔÌ·¯›Â˜.
The life of an Emirati man who adores bullfighting.
ºÈÏÌÔÁÚ·Ê›· Filmography
Spirit Of Dust
Crustificated People
My Blowing Hair
A Tent From Paper
My Friend,Mr Bull
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 Emirates Film Competition
Majed Neisi
°ÂÓÓ‹ıËΠÙÔ 1981. •ÂΛÓËÛ ӷ ÂÚÁ¿˙ÂÙ·È ˆ˜ ÛÎËÓÔı¤Ù˘ ÛÙËÓ ∞¯‚¿˙,
ÙË ÁÂÓ¤ÙÂÈÚ¿ ÙÔ˘ ÛÙÔ ÓfiÙÈÔ πÚ¿Ó. ∞Û¯ÔÏÂ›Ù·È Â‰Ò Î·È 7 ¯ÚfiÓÈ· Ì ÙË
ÛÎËÓÔıÂÛ›· Î·È ÙËÓ ·Ú·ÁˆÁ‹. ∂›Ó·È ̤ÏÔ˜ ÛÙÔ ™‡ÏÏÔÁÔ ¢ËÌÈÔ˘ÚÁÒÓ
¡ÙÔÎÈÌ·ÓÙ¤Ú ÙÔ˘ πÚ¿Ó.
Majed Neisi was born in 1981. He started his work as a director in Ahvaz, his hometown in south of Iran. And till now it’s about 7 years he
is working as director and producer. He is also a member in Iran’s Documentary Movie Makers Society.
Majed Neisi
Tel: +971 50 670 2026
Email: [email protected]
ECOFILMS
ƒ√¢√™
2006
RODOS
99
£√ƒÀµ√™
NOISE
™ÂÚ‚›· Serbia, 2006
¢È¿ÚÎÂÈ· Running time: 5’ 25’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Bruno Bratovic
Bora Bora production
Pop Lukina 4
Beograd 11000
Serbia
Tel: +381 64 3716190
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·, ªÔÓÙ¿˙
Director, Camera, Edit: Milorad Djuknic
°Ú·ÊÈο Graphics: Veljko Pavlovic
™‡ÓÔ„ËSynopsis
∫·ÏÔηÈÚÈÓ‹ ̤ڷ ÛÙËÓ ·Ú·Ï›·, ·ÓıÚÒÈÓÔÈ ıfiÚ˘‚ÔÈ Î·È Ô ÎfiÛÌÔ˜ ÙÔ˘ ‚˘ıÔ‡.
Summer day on the beach, human noise and underwater world.
ºÈÏÌÔÁÚ·Ê›· Filmography
Noise
Fire Salamander
Fate
Fear
Night
Memento
Milorad Djuknic
Milorad Djuknic
°ÂÓÓ‹ıËΠÛÙÔ ∑·ÓÙ¿Ú ÙÔ 1958. ∂›Ó·È È‰Ú˘Ù‹˜ Ù˘ ÂÙ·ÈÚ›·˜ Bora Bora
Production Ô˘ ÂȉÈ·ÂÙ·È ÛÙËÓ ·Ú·ÁˆÁ‹ ÓÙÔÎÈÌ·ÓÙ¤Ú, ÔÈÎÔÏÔÁÈÎÒÓ
Î·È ˘Ô‚Ú‡¯ÈˆÓ Ù·ÈÓÈÒÓ. ∂›Ó·È Â›Û˘ È‰Ú˘Ù‹˜ Î·È Úfi‰ÚÔ˜ ÙÔ˘ ¢ÈÂıÓÔ‡˜ ºÂÛÙÈ‚¿Ï ÀÔ‚Ú‡¯ÈÔ˘ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙÔ µÂÏÈÁÚ¿‰È. √È Ù·Èӛ˜ ÙÔ˘ "Fear" Î·È "Fate" ¤¯Ô˘Ó ÎÂÚ‰›ÛÂÈ ·ÚÎÂÙ¿ ‚Ú·‚›· Û ‰ÈÂıÓ‹ ÊÂÛÙÈ‚¿Ï.
Milentija Popovica 37/16
11070 Beograd
Serbia
Tel: +381 63 8611455
Fax: +381 11 144307
Email: [email protected]
Born in Zadar in 1958. He is the founder of Bora Bora Production, specialized in documentary, ecological and underwater films production.
He is also founder and president of the Belgrade International Underwater Film Festival. For the films "Fear" and "Fate" he got numerous
awards at international festivals.
100
ECOFILMS
ƒ√¢√™
2006
RODOS
√π £√ƒÀµø¢∂π™ °∂π∆√¡∂™
THE NOISY NEIGHBOURS
¶°¢ª FYRoM, 2005
¢È¿ÚÎÂÈ· Running time: 35’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Goce Cvetanovski
26 bis rue fontaine au Roi
75011 Paris
France
Tel: + 33 148 069 322
Email: [email protected]
™ÎËÓÔı¤Ù˘, ¶·Ú·ÁˆÁfi˜ Director,
Producer: Ljubomir Stefanov
AÊ‹ÁËÛË Narration: Graham W. Reid
™ÂÓ¿ÚÈÔ Script: Dragan Cobanov, Ognen
Cemerski, Ljubomir Stefanov
∫¿ÌÂÚ· Camera: Dimo Popov
ªÔÓÙ¿˙ Edit: Atanas Georgiev
ªÔ˘ÛÈ΋ Music: Krume Stefanovski,
Dejan Spasovic
µÔËıfi˜ ¶·Ú·ÁˆÁ‹˜
Production ∞ssistant: Dragan Stefanov
¶·Ú·ÁˆÁ‹ Produced by: Apolo Images
™‡ÓÔ„ËSynopsis
ŸÏÔÈ ÁÓˆÚ›˙Ô˘Ì ÙËÓ ·ÎÚ›‰·, ÙÔ ÁÚ‡ÏÔ ‹ ÙÚÈ˙fiÓÈ, Ì· Ï›ÁÔÈ ¤¯Ô˘Ì ·Ú·ÙËÚ‹ÛÂÈ ÙË ˙ˆ‹ ÙÔ˘˜, ÙȘ
Û˘Ó‹ıÂȤ˜ ÙÔ˘˜ Î·È ÙÔ˘˜ Êfi‚Ô˘˜ ÙÔ˘˜ ÛÙÔ ¯ÔÚÙ¿ÚÈ Î·È ÛÙÔ˘˜ Ê·ÈÓÔÌÂÓÈο ‹Û˘¯Ô˘˜ ı¿ÌÓÔ˘˜, Ô˘
ÂÓ›ÔÙ ‚Ú›ÛÎÔÓÙ·È Ôχ ÎÔÓÙ¿ ÛÙ· Û›ÙÈ· Ì·˜. ∏ Ù·ÈÓ›· ·˘Ù‹ ·Ó·Ê¤ÚÂÙ·È Û ÌÈ· Û˘ÌÌÔÚ›· Ê·Û·ÚÈfi˙ˆÓ Ô˘ ¤¯Ô˘Ó ‰˘Ó·Ù¿ ›Ûˆ fi‰È·, Â›Ó·È ·ÚÎÂÙ¿ ÈηÓÔ› ÛÙËÓ Ù¤¯ÓË Ù˘ ·Ú·ÏÏ·Á‹˜ Î·È Ô˘
ÂÚÓÔ‡Ó ÙÔÓ ÂÚÈÛÛfiÙÂÚÔ Î·ÈÚfi ÙÔ˘˜ ·ÔʇÁÔÓÙ·˜ Ù· ·‰È¿ÎÚÈÙ· ‚ϤÌÌ·Ù·: Ù· ÔÚıfiÙÂÚ·.
We all know the grasshopper, the cricket or the bush-cricket, but few of us have had a glimpse
of their lives, their habits and their fears in the grass and seemingly quiet shrubs, sometimes
very close to our homes. This is a film about a band of noisemakers which have strong hind legs
and are quite skilful in the art of disguise, and which spend most of their time avoiding curious
eyes -the orthopterans.
Ljubomir Stefanov
Ljubomir Stefanov
Mito Hadzi-Vasilev Jasmin 22/37
1000 Skopje
Former Yugoslavic Republic of Macedonia
Tel: + 389 2 3133 100
Fax+ 389 2 3176 828
Email: [email protected]
°ÂÓÓ‹ıËΠÛÙ· ™ÎfiÈ· ÙÔ 1975. ¶·Ú·ÁˆÁfi˜, ʈÙÔÁÚ¿ÊÔ˜ ηÈ
ÛÎËÓÔı¤Ù˘. π‰Ú˘Ù‹˜ Î·È ‰È¢ı˘ÓÙ‹˜ Ù˘ ÂÙ·ÈÚ›·˜ Apolo Images. ∆·
ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ· ÂÚÁ¿˙ÂÙ·È Û ηÌ¿ÓȘ ÁÈ· ·ÚÎÂÙ¿ ÚÔÁÚ¿ÌÌ·Ù·
ÚÔÛÙ·Û›·˜ Ù˘ ʇÛ˘.
Born in Skopje in 1975. Producer, photographer and filmmaker.
Founder and director of Apolo Images. In the past few years working
on public campaigns for several nature conservation projects.
ECOFILMS
ƒ√¢√™
2006
RODOS
101
¡∏™π ºπ-ºπ, ª∂∆∞ ∆√ ∆™√À¡∞ªπ
PHI PHI-AFTER TSUNAMI
∆·˚Ï¿Ó‰Ë Thailand, 2005
¢È¿ÚÎÂÈ· Running time: 22’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
V-DEA Film
Via Menardi 3
Roccasparvera 12010 CN
Italy
Tel: +39 017172754
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·,
™ÂÓ¿ÚÈÔ, ¶·Ú·ÁˆÁfi˜
Director, Camera, Script, Producer:
Paolo Ansaldi
ªÔÓÙ¿˙ Edit: Joseph Escamez
°Ú·ÊÈο Graphics: Diego Viada
ªÔ˘ÛÈ΋ Music: Maiu, Ivan Grosso
◊¯Ô˜ Sound: Maiu
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Sulle Strade dell’ Occitania
2003 Spremiarance
(The Orange juice extractor)
Sulle Tracce dell’immateriale
(On the Trail of the Immaterial)
2002 L’Animale Guida (The Animal Guide)
™‡ÓÔ„ËSynopsis
ŒÓ· Ì‹Ó· ÌÂÙ¿ ÙÔ ÙÚ·ÁÈÎfi ÙÛÔ˘Ó¿ÌÈ Ô˘ Û˘ÁÎÏfiÓÈÛ ÙË ÓÔÙÈ·Ó·ÙÔÏÈ΋ ∞Û›·, ¤Ó· ÂÓ‰ÔÛÎÔÈÎfi Ù·Í›‰È, ÊÙÈ·Á̤ÓÔ ·fi ÛÂοӘ Ì·ÎÚ¿˜ ‰È¿ÚÎÂÈ·˜ Î·È Ì·ÎÚÈÓ¿ Ï¿Ó·, ÂÍÂÚÂ˘Ó¿ ÙÔ ÓËÛ› ºÈ-ºÈ ÛÙËÓ
∆·˚Ï¿Ó‰Ë, ·Ô˙ËÙÒÓÙ·˜ ÙÔ «ÛÙÔ¯·ÛÌfi» Ô˘ ·ÔÚÚÔÊ¿ fiÏÔ ÙÔ ·ÓıÚÒÈÓÔ ‰Ú¿Ì·. ∂‰Ò, Ë ÌÓ‹ÌË
‰ÂÓ ÌÔÚ› ·Ú¿ Ó· Â›Ó·È Ë Û˘ÏÏÔÁ‹ ÛΤ„ˆÓ, Ô˘ ÛÙÚ¤ÊÔÓÙ·È ÛÙÔ ·ÚÂÏıfiÓ, ÒÛÙ ӷ ·ÔÙÂϤÛÔ˘Ó ÙÔ ¤‰·ÊÔ˜ ·fi fiÔ˘ ÁÂÓÓÈ¤Ù·È Ë Ô›ËÛË.
After one month from the tragic one seaquake that hit all the Asian south-east, an introspective travel, made of long sequence plans and fixed shots, explores Phi Phi Island in Thailand searching "the
contemplative" to soak up the human drama. Here the memory can only be the gathering of the
thought, face to behind, in order of becoming the land from which the poetry emerges.
Paolo Ansaldi
°ÂÓÓ‹ıËΠÛÙËÓ πÙ·Ï›· ÛÙȘ 11 πÔ˘Ó›Ô˘ 1979. ∆Ô 2002 ·ÔÊÔ›ÙËÛ ·fi
ÙËÓ ∞η‰ËÌ›· ¶ÔÏ˘Ì¤ÛˆÓ Î·È ÌÂÙ¿ ‹Ú Ù˘¯›Ô ÛÙËÓ Ù¯ÓÔÏÔÁ›· ‚›ÓÙÂÔ ·fi ÙË ™¯ÔÏ‹ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙÔ ∆ÔÚ›ÓÔ. •ÂΛÓËÛ ӷ ÂÚÁ¿˙ÂÙ·È
ˆ˜ ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜ Î·È ÛÎËÓÔı¤Ù˘ Ù·ÈÓÈÒÓ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜. Œ¯ÂÈ ‰Ô˘Ï¤„ÂÈ Ì ÙÔ ÛÎËÓÔı¤ÙË ∆ÔÚ›ÓÔ ÓÙ ªÂÚÓ¿ÚÓÙÈ. ∞˘Ù‹ ÙË ÂÚ›Ô‰Ô ÂÚÁ¿˙ÂÙ·È ÛÙÔ ∆ÔÚ›ÓÔ Î·È ÙË ª·ÛÛ·Ï›·.
Paolo Ansaldi
µorn in Italy on 11th June 1979. Having received his diploma from
the Multimedia Art Academy, in 2002, he then graduated in video
technology from the University of the Cinema, in Turin. He started
work as a writer and director of short films. He has worked with the
director Tonino De Bernardi. At present he spends his time working
between Turin and Marseilles.
Via Menardi 3
Roccasparvera 12010 CN
Italy
Tel: +39 3334968876
Email: [email protected]
102
ECOFILMS
ƒ√¢√™
2006
RODOS
¢∏§∏∆∏ƒπ∞™ª∂¡∞ ¶§√π∞
NAVI AVVELENATE / POISONED BOATS
πÙ·Ï›·, ∆Ô˘ÚΛ·
Italy, Turkey, 2005
¢È¿ÚÎÂÈ· Running time: 30’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Vincenzo Peroglizzi
Via Centrotrecento 11
40126 Bologna
Italy
Tel: +39 3405791569
Fax: +39 051226239
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·, ∞Ê‹ÁËÛË,
ŒÚ¢ӷ Director, Camera, Narration,
Research: Vincenzo Pergolizzi
ªÔÓÙ¿˙ Edit: Dario Collina
¶·Ú·ÁˆÁ‹ Production:
G˛lata Produzioni Culturali
™‡ÓÔ„ËSynopsis
ºÈÏÌÔÁÚ·Ê›· Filmography
The documentary is a report about the illegal dismantling of the European poison ships in some
secluded ports of the Turkish Aegean region. Lots of workers coming from Anatolian villages
have often the only chance of a job in this seriously dangerous activity. There is a high rate of
cancer and lung diseases among these workers.
2006 Voci di parroci in Turchia
2005 Navi avvelenate Poisoned Boats
Nsehlenet: sei momenti di incontro
2004 Mamma li turchi
Ticinesi a Bologna
Beyoglu, dopo le esplosioni
2003 Nomadelfia
Ferrara, città della bici
2002 Ladri di Organi
L’ultimo fonditore di Campane
La fattoria di asini
2000 Vita da Profughi
Vincenzo Peroglizzi
Via Centrotrecento 11
40126 Bologna
Italy
Tel: +39 3405791569
Fax: +39 051226239
Email: [email protected]
∆Ô ÓÙÔÎÈÌ·ÓÙ¤Ú ·˘Ùfi Â›Ó·È ÌÈ· ¤Ú¢ӷ ÁÈ· ÙËÓ ·Ú¿ÓÔÌË ‰È¿Ï˘ÛË Â˘Úˆ·˚ÎÒÓ ·ÚÔÏÈṲ̂ӈÓ
ÏÔ›ˆÓ Û ·fiÌÂÚ· ÏÈÌ¿ÓÈ· ÛÙ· ÙÔ˘ÚÎÈο ·Ú¿ÏÈ· ÙÔ˘ ∞ÈÁ·›Ô˘. ¶ÔÏÏÔ› ÂÚÁ¿Ù˜ ÚÔÂÚ¯fiÌÂÓÔÈ ·fi ¯ˆÚÈ¿ Ù˘ ∞Ó·ÙÔÏ›·˜ ‰ÂÓ ¤¯Ô˘Ó ¿ÏÏË ‰˘Ó·ÙfiÙËÙ· ÂÚÁ·Û›·˜ ·Ú¿ ÌfiÓÔ Û ·˘Ù‹ ÙËÓ ¿ÎÚˆ˜ ÂÈΛӉ˘ÓË ‰Ú·ÛÙËÚÈfiÙËÙ·. ™ËÌÂÈÒÓÂÙ·È ˘„ËÏfi ÔÛÔÛÙfi ηÚΛÓÔ˘ Î·È Ó¢ÌÔÓÈÎÒÓ ÚÔ‚ÏËÌ¿ÙˆÓ
ÛÙÔ˘˜ ÂÚÁ¿Ù˜.
Vincenzo Pergolizzi
™Ô‡‰·Û ºÈÏÔÛÔÊ›· ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ Ù˘ ªÔÏfiÓÈ· Î·È ªÔ˘ÛÈ΋
ÛÙÔ ø‰Â›Ô Ù˘ ªÂÛ›Ó·. ∞fi ÙÔ 1990 ÂÚÁ¿˙ÂÙ·È ˆ˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜. ªÂٷ͇ 1993 Î·È 1999 ‰Ô‡Ï„ ˆ˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ ÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ∆Ô 1999 ¿Ú¯ÈÛ ӷ ‰Ô˘Ï‡ÂÈ ÁÈ· ÙÔÓ ∂Ï‚ÂÙÈÎfi ƒ·‰ÈÔÙËÏÂÔÙÈÎfi
√ÚÁ·ÓÈÛÌfi. ∆ËÓ ›‰È· ÂÚ›Ô‰Ô ¤Î·Ó ·ÚÎÂÙ¿ ÚÂÔÚÙ¿˙ Î·È ÓÙÔÎÈÌ·ÓÙ¤Ú
ÁÈ· ÙË RAI Î·È ÙËÓ ∂Ï‚ÂÙÈ΋ ∆ËÏÂfiÚ·ÛË.
Vincenzo Pergolizzi completed the Philosophy’s studies in Bologna University and music formation at Messina music Conservatory. Since
1990 he’s working as a journalist. Between 1993-1999 he worked like
journalist n Istanbul (Turkey). In 1999, he started work for Switzerland Radio and Television. In same time he realised severals reportages and documentaries for Rai and
Switzerland Television
ECOFILMS
ƒ√¢√™
2006
RODOS
103
ºø∫π∂™ ™∆∏¡ ∞°√ƒ∞ ∆√À ¶√∆∞ª√À
LOBOS DE LA FERIA FLUVIAL
SEA WOLVES AT THE RIVER MARKET
ÃÈÏ‹ Chile, 2006
¢È¿ÚÎÂÈ· Running time: 20’ 30’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Bruno Bettati
Jirafa
Perez Rosales 787 of. A
Valdivia
Chile
Tel: +56 63213556
Email: [email protected]
www.jirafa.cl
™ÎËÓÔı¤Ù˘ Director: Ilãan Stehberg
µÔËıfi˜ ÛÎËÓÔı¤ÙË Assistant Director:
Waldo Salgado
∫¿ÌÂÚ· Camera: Inti Briones
ªÔÓÙ¿˙ Edit: Ilan Stehberg, Jose Luis
Torres-Leiva
°Ú·ÊÈο Graphics: Pablo Schalscha
ªÔ˘ÛÈ΋ Music: Alvaro Morgan
™ÂÓ¿ÚÈÔ Script: Bruno Bettati
◊¯Ô˜ Sound: Estudio Malva
¶·Ú·ÁˆÁfi˜ Producer: Bruno Bettati
¢È‡ı˘ÓÛË ·Ú·ÁˆÁ‹˜ Production
Coordinat: Rodrigo Gonzalez
∫·ÏÏÈÙ¯ÓÈÎfi˜ ‰È¢ı˘ÓÙ‹˜ Art director:
Rodrigo Guerra Encina
∏ıÔÔÈÔ› Cast: Manuel Hernandez,
Antonia Araya, Manuela Schalscha Heitzer
Ilãan Stehberg
Perez Rosales 787 of. A
Valdivia
Chile
Tel: +56 63213556
Email: [email protected]
104
™‡ÓÔ„ËSynopsis
∆Ú›· ·È‰È¿ ÙÚÈÁ˘Ú›˙Ô˘Ó Û ÌÈ· fiÏË Î·È ÙÔ ÔÙ¿ÌÈ Ù˘, Û·Ó Ó· ‹Ù·Ó ÁÚ·ÊÙfi Ó· Û˘Ó·ÓÙËıÔ‡Ó,
ÂÚÓÔ‡Ó ·fi ÙËÓ ›‰È· ·ÁÔÚ¿ Û ‰È·ÊÔÚÂÙÈΤ˜ fï˜ ÛÙÈÁ̤˜. ∏ Û˘Ó¿ÓÙËÛË ÙˆÓ ·È‰ÈÒÓ ‰ÂÓ Ú·ÁÌ·ÙÔÔÈÂ›Ù·È ÔÙ¤, Ì¿ÚÙ˘Ú·˜ Ù˘ Â›Ó·È ÌfiÓÔ Ô ı·ً˜.
Three children wander around a city and its river as if they were bound to meet each other, but
they are at a different time, though at the same river market. The kids’ unfulfilled encounter, of
which only the spectator is witness to.
Ilãan Stehberg
µÈÔÌ˯·ÓÈÎfi˜ ۯ‰ȷÛÙ‹˜. ™Ù· ·È‰Èο ÙÔ˘ ¯ÚfiÓÈ· ¤˙ËÛ ÛÙË ªÔ˙·Ì‚›ÎË fiÔ˘ ¤Ì·ı ÔÚÙÔÁ·ÏÈο Î·È ·ÁÁÏÈο. ¢Ô‡Ï„ ˆ˜ Ù¯ÓÈÎfi˜ ÛÙȘ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Ù·Èӛ˜ "Monkey Business" Î·È " Concerto Campestre". ∆Ô 2001 Û˘Ó-›‰Ú˘Û ÙËÓ ÂÙ·ÈÚ›· Jirafa Films ÛÙËÓ fiÏË µ·Ï‰›‚È·, ÛÙË ÓfiÙÈ· ÃÈÏ‹. ◊Ù·Ó ÌÔÓÙ¤Ú Ù˘ Ù·ÈÓ›·˜ "A Murderer Among Us", Ù˘ ÚÒÙ˘ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Ù·ÈÓ›·˜ Ô˘ Á˘Ú›ÛÙËΠÛÙË µ·Ï‰›‚È·. ∆Ô ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 2005 Á‡ÚÈÛ ÙËÓ ÚÒÙË
ÙÔ˘ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ Ù·ÈÓ›· «ºÒÎȘ ÛÙËÓ ∞ÁÔÚ¿ ÙÔ˘ ¶ÔÙ·ÌÔ‡».
Industrial designer. In his childhood he lived in Mozambique, where he
learned portuguese and english. He worked as technician in the feature
films "Monkey Business" (Chile, 2000) and "Concerto Campestre" (Rio
Grande do Sul, Brasil, 2002). In 2001 he cofounded Jirafa Films at the city of Valdivia, south of Chile. Was editor to "A Murderer Among Us", first feature film shot in Valdivia. In August 2005, he shot his first shortfilm,
"Sea Wolves at the River Market".
ECOFILMS
ƒ√¢√™
2006
RODOS
∫∞∆∞™Ã∂™∏
LA SAISE / SEIZURE
∫·Ó·‰¿˜ Canada, 2005
¢È¿ÚÎÂÈ· Running time: 4’ 15’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Steve Rompré
7073, rue Molson
Montreal, Quebec H2A 3K2
Canada
Tel: +514 725-7298
Email: [email protected]
™ÎËÓÔı¤Ù˘, ÛÂÓ¿ÚÈÔ Director, Script:
Steve Rompré
µÔËıfi˜ ÛÎËÓÔı¤ÙË Assistant Director:
Nancy-Lyne Beaudry
∫¿ÌÂÚ· Camera: Martin Leblanc
ªÔÓÙ¿˙ Edit Steve Rompré
°Ú·ÊÈο Graphics: Mario Mondou
ªÔ˘ÛÈ΋ Music: Alain Maltais
◊¯Ô˜ Sound: France Poliseno
Producer Manon Bordeleau, Steve Rompré
™Ù›¯ÔÈ Children's song lyrics: Beno›t
Meilleur
∆Ú·ÁÔ‡‰È Children's song
performed by: Michelle Meilleur
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Seizure, 4’ 15’’
2002 The Taco Test, 18’ 50’’
™‡ÓÔ„ËSynopsis
™Â ¤Ó·Ó ÎfiÛÌÔ fiÔ˘ ÔÈ Ê˘ÛÈÎÔ› fiÚÔÈ ÌÂÈÒÓÔÓÙ·È, ¤Ó·˜ οÙÔÈÎÔ˜ ÙˆÓ ÚÔ·ÛÙ›ˆÓ ‰¤¯ÂÙ·È ÌÈ· ÂÚ›ÂÚÁË Â›ÛÎÂ„Ë ÁÈ· ÌÈ· Ó¤Ô˘ ›‰Ô˘˜ ηٿۯÂÛË.
In a world where natural resources are beginning to run out, a man from suburbia gets a surprising wake up call with a new kind of seizure.
Steve Rompré
°ÂÓÓ‹ıËΠÛÙÔ ªfiÓÙÚÂ·Ï ÙÔ 1971. ™Ô‡‰·Û ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ÛÙÔ ∫ÂÌ¤Î ÛÙÔ Laval University Î·È ÂÚÁ¿˙ÂÙ·È ˆ˜ οÌÂÚ·Ì·Ó Î·È ÌÔÓÙ¤Ú ·fi
ÙÔ 1993. ŒÁÚ·„ ·ÚÎÂÙ¿ ÛÂÓ¿ÚÈ·, ÌÂٷ͇ ·˘ÙÒÓ Î·È Ù· ÛÂÓ¿ÚÈ· ÁÈ· ÙȘ
Ù·Èӛ˜ "Seizure" Î·È "The Taco Test" ÙȘ Ôԛ˜ ÛÎËÓÔı¤ÙËÛÂ. ∏ Ù·ÈÓ›·
"The Taco Test" Û˘ÌÌÂÙ›¯Â Û ·ÚÎÂÙ¿ ÊÂÛÙÈ‚¿Ï. ◊Ù·Ó Â›Û˘ ‚ÔËıfi˜
ÙÔ˘ ÛÎËÓÔı¤ÙË Claude Fournier ·fi ÙÔ ∫ÂÌ¤Î ÛÙȘ ÙÂÏÂ˘Ù·›Â˜ ‰‡Ô ÙÔ˘
·Ú·ÁˆÁ¤˜. ∞˘Ù‹ ÙËÓ ÂÚ›Ô‰Ô ·Û¯ÔÏÂ›Ù·È Ì ÙÔ ÛÂÓ¿ÚÈÔ ÌÈ·˜ Ù·ÈÓ›·˜
ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Î·È ÙËÓ ·Ú·ÁˆÁ‹ Ù·ÈÓÈÒÓ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜.
Steve Rompré
7073, rue Molson
Montreal, Quebec H2A 3K2
Canada
Tel: +514 725-7298
Email: [email protected]
Born in Montreal in 1971. He studied cinema at Laval University in Quebec City and has been working as a
cameraman-editor since 1993. He wrote several scripts, among which "Seizure" and "The Taco Test", which
he also directed. "The Taco Test" participated in a dozen international film festivals. Steve was also the personal assistant of famous Quebec’s director Claude Fournier on his last two productions. He is currently working on a feature film script and the production of short films.
ECOFILMS
ƒ√¢√™
2006
RODOS
105
∫∏¢∂π∞ ™∆√¡ √Àƒ∞¡√
SKY BURIAL
∏¶∞ USA, 2005
¢È¿ÚÎÂÈ· Running time: 12’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Ellen Bruno
3447 25th STreet
San Francisco, CA 94110
USA
Tel: +1 415-641-4491
Email: [email protected]
www.brunofilms.com
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·, ◊¯Ô˜, ªÔÓÙ¿˙,
¶·Ú·ÁˆÁfi˜ Director, Camera, Sound,
Edit, Producer: Ellen Bruno
™‡ÓÔ„ËSynopsis
ªÂÙ¿ ÙÔ ı¿Ó·ÙÔ, ÔÈ ÌÔÓ·¯Ô› „¿ÏÔ˘Ó ÁÈ· Ó· ·ÔÌ·ÎÚ‡ÓÔ˘Ó ÙË Û˘Ó›‰ËÛË ·fi ÙÔ ÛÒÌ· Î·È Ó·
ÙËÓ Ô‰ËÁ‹ÛÔ˘Ó ÛÙÔ ÂӉȿÌÂÛÔ ÛËÌÂ›Ô ÌÂٷ͇ ˙ˆ‹˜ Î·È ·Ó·Á¤ÓÓËÛ˘. ∆Ô ÛÒÌ· Ù˘Ï›ÁÂÙ·È Û ‡Ê·ÛÌ·, ·fi Ù· ÁfiÓ·Ù· ˆ˜ ÙÔ ËÁÔ‡ÓÈ Î·È ÌÂٷʤÚÂÙ·È ÛÙÔÓ ÙfiÔ ÂÓÙ·ÊÈ·ÛÌÔ‡.
ºÈÏÌÔÁÚ·Ê›· Filmography
Sky Burial
The Lepers of Kokona
Sacrifice: The Story of Child Prostitutes from
Burma
Blessed
Satya: A Prayer for the Enemy
Samsara: Death and Rebirth in Cambodia
No Fairy Tale
House Of The Spirit: Perspectives on
Cambodian Health Care
After death, monks chant to call the consciousness from the body and guide it through the bardo between life and rebirth. The body is then wrapped in cloth, knees to chin as at birth, and
carried to the burial site.
Ellen Bruno
™ÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú, ˙ÂÈ ÛÙÔ ™·Ó ºÚ·ÓÛ›ÛÎÔ. ∆· ¤ÚÁ· Ù˘ ¤¯Ô˘Ó
ÎÂÚ‰›ÛÂÈ ¿Óˆ ·fi 25 ‚Ú·‚›· ÛÙȘ ∏¶∞ Î·È ‰ÈÂıÓÒ˜. Œ¯ÂÈ ÎÂÚ‰›ÛÂÈ ˘ÔÙÚÔʛ˜ ·fi Ù· ȉڇ̷ٷ °ÎÔ‡ÁÎÂÓ¯·˚Ì Î·È ƒfiÎÊÂÏÂÚ. ∆Ô ¤ÚÁÔ Ù˘ ÂÈÎÂÓÙÚÒÓÂÙ·È ÛÙÔ Úfi‚ÏËÌ· ÙˆÓ ·ÛÙ¤ÁˆÓ, ÙËÓ ÔÚÓ›· ÛÙËÓ ªÔ‡ÚÌ·, ÙȘ ηÏfiÁÚȘ ÙÔ˘ £È‚¤Ù, ÙËÓ ˘Á›· ÛÙËÓ ∫·ÌfiÙ˙Ë Î·È ¿ÏÏ· ˙ËÙ‹Ì·Ù· Ô˘ ¿ÙÔÓÙ·È ÙˆÓ ·ÓıÚÒÈÓˆÓ ‰ÈηȈ̿وÓ. ∂›Ó·È ̤ÏÔ˜ ÙÔ˘ ‰ÈÔÈÎËÙÈÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘ ÛÙ· Buddhist Film Festival Î·È Pacific Pioneer
Fund Î·È Â›Ó·È Û˘ÓÂÚÁ·˙fiÌÂÓË Î·ÏÏÈÙ¤¯Ó˘ Ì ÙÔ Yerba Buena Center
for the Arts.
Ellen Bruno
3447 25th STreet
San Francisco, CA 94110
USA
Tel: +1 415-641-4491
Email: [email protected]
www.brunofilms.com
106
Ellen Bruno is a San Francisco-based documentary filmmaker whose
works have won more than 25 national and international awards. A recipient of both the Guggenheim and
Rockefeller Fellowships, Ms. Bruno has focused her attention on homelessness, Burmese prostitution, Tibetan nuns, health care in Cambodia, and other issues on the forefront of human rights. She serves on the
Board of Directors of the Buddhist Film Festival, the Pacific Pioneer Fund, and has been an artist-in-residence
at the Yerba Buena Center for the Arts.
ECOFILMS
ƒ√¢√™
2006
RODOS
™Àªµπø™∏
SYMBIOSIS
√˘ÁÁ·Ú›· Hungary, 2006
¢È¿ÚÎÂÈ· Running time: 27’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
COR LEONIS FILMS
1056 Budapest
Hungary
Contact: Emoke Vagasi
Tel: +36 209 555 858
Email: [email protected]
™ÎËÓÔı¤Ù˘, MÔÓÙ¿˙ Director, Edit:
Csaba Szekeres
∫¿ÌÂÚ· Camera: Balazs Doboczi
¶·Ú·ÁˆÁfi˜ Producer: Emoke Vagasi
™‡ÓÔ„ËSynopsis
™ÙË ‚fiÚÂÈ· √˘ÁÁ·Ú›· ÏÂÈÙÔ˘ÚÁ› ÙÔ Î¤ÓÙÚÔ ‚Ô‹ıÂÈ·˜ ·˘ÙÈÛÙÈÎÒÓ ·È‰ÈÒÓ. ∆Ô Î¤ÓÙÚÔ ÏÂÈÙÔ˘ÚÁ› ÛÂ
¤Ó· ÌÈÎÚfi ·ÁÚfiÎÙËÌ· ÂÓfi˜ ¯ˆÚÈÔ‡, Î·È Ù· ·È‰È¿ ÌÂٷʤÚÔÓÙ·È ÂΛ ÌÂÌÔӈ̤ӷ Ì ÙÔ˘˜ Û˘ÓÔ‰Ô‡˜ ÙÔ˘˜, ÒÛÙ ӷ Û˘ÓËı›ÛÔ˘Ó ÙÔ Ó¤Ô, ÊÈÏfiÍÂÓÔ ÂÚÈ‚¿ÏÏÔÓ. ∏ Ù·ÈÓ›· ·Ú·ÎÔÏÔ˘ı› ÙÔ ÚÒÙÔ
Ù·Í›‰È ÂÓfi˜ ·˘ÙÈÛÙÈÎÔ‡ ·È‰ÈÔ‡ ÛÙÔ ·ÁÚfiÎÙËÌ· Î·È ÙË Û˘Ó¿ÓÙËÛË Ì ÙÔ˘˜ Á›ÙÔÓ˜.
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 Belle Epoque
2005 Kinder Garden, Dream Tour
Window On The Past
Lovefilm, Revenge, Take It Easy
2004 Mother And Daughter
Anima Formosa
Long Night/Long Day
The Train/Johannes
2003 Mami, Blue
2002 People
2001 Touch
For You Only
Four Season On The Island Of Fish
2000 Ruins And Flower
1998 Tidi
1995 Letters Form Provence
Csaba Szekeres
Budapest XII., Alkotas UT 15.
Hungary
Fax: +36 26 363616
∂mail: [email protected]
In the northern part of Hungary functions the center for helping autistic children. The Center
establised a small farm in a village, and the children are taken one by one by their tenders, to
get accustomed to the new, hopefully welcoming environment. The film follows the first
journey of one autistic child to the farm and his meeting with the neighbours.
Csaba Szekeres
™Ô‡‰·Û £ÂˆÚ›· ÙˆÓ ªª∂ ÛÙÔ Dãaniel Berzsenyi Training College ηÈ
ÌÂÙ¿ Û˘Ó¤¯ÈÛ ÙȘ ÛÔ˘‰¤˜ ÙÔ˘ ÛÙÔ ¶·Ú›ÛÈ Ì ÙËÓ ∞ÚÈ¿Ó ªÓÔ˘ÛΛÓ.
™ÎËÓÔı¤ÙËÛ ÙËÓ ÚÒÙË ÙÔ˘ Ù·ÈÓ›· ÙÔ 1995. ∞ÎÔÏÔ‡ıËÛ·Ó Î·È ¿ÏϘ
Ù·Èӛ˜ Ì ηÏÏÈÙ¯ÓÈ΋ Î·È ÎÔÈÓˆÓÈ΋ ıÂÌ·ÙÔÏÔÁ›·. ∂‰Ò Î·È Ô¯ÙÒ
¯ÚfiÓÈ· ÛÎËÓÔıÂÙ› ÁÈ· ÌÈ· ÛÂÈÚ¿ ÂÎÔÌÒÓ ÛÙË Duna TV, ÌÈ· ÛÂÈÚ¿ Ô˘
·ÚÔ˘ÛÈ¿˙ÂÈ Ù· ÚÔ‚Ï‹Ì·Ù· ÙˆÓ ·Ó¿ËÚˆÓ. ™˘Ó¯›˙ÂÈ Ó· ÛÎËÓÔıÂÙ›
Ù·Èӛ˜ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜.
Csaba Szekeres studied Media Theory at the Dãaniel Berzsenyi Training
College, then studies in Paris at Arienne Mnouchine’s Theater. He
directs his first film in 1995. That was followed by numerous films
mainly on cultural and social subjects. For eight years he has been the director of a series on Duna TV, a series
that presents the problems of handicapped people (Felelet az életnek, Reply to Life), and continues directing
feature films.
ECOFILMS
ƒ√¢√™
2006
RODOS
107
¢È·ÁˆÓÈÛÙÈÎfi
Competition
µƒ∞µ∂π√ RAMSAR-MEDWET AWARD RAMSAR-MEDWET
∆∞π¡π∂™ °π∞ ∆√ ¡∂ƒ√ ∫∞π ∆√À™ À°ƒ√∆√¶√À™
FILMS √¡ WATER AND WETLANDS
110
112
114
116
118
120
122
124
126
128
130
132
134
136
138
140
142
144
ª¶§∂ ∆√À À¢ƒ√∫À∞¡π√À
CYANIDE BLUES
√π ∂∫µ√§∂™ ∆√À ¢∂¡¢ƒ√¶√∆∞ª√À
THE ESTUARIES OF DENDROPOTAMOS
¶∞ƒ∞¶√∆∞ªπ∂™ ¶∂¢π∞¢∂™
VOORLAND / FORELAND
∂¢∞º∏ ∆√À °§À∫√À ¡∂ƒ√À
TIERRAS DE AGUA DULCE / FRESHWATER LANDS
Ã∞πƒ∂∆π™ª∞∆∞ ∞¶√ ∆∏¡ ∫√π§∞¢∞
∆√À £∞¡∞∆√À
GREETINGS FROM DEATH VALLEY
¶ƒ√™∆∞∆∂™ ∆∏™ ºÀ™∏™: ∫√§√ªµπ∞
SENTINELLES DE LA NATURE : LA COLOMBIE
GUARDIANS OF NATURE: COLOMBIA
∞™∫∏™∂π™ °π∞ ∆√ ™¶π∆π
COMPITO A CASA / HOMEWORK
ºƒ∞°ª∞∆∞ ∞¶√ ∞ªª√ ™∆√ ∫π∆√Àπ
KITUI SAND DAMS
ª∞Àƒ∏ ∑ø∏
ZHIZN PO CHERNOMU / LIFE IN BLACK
§π∆∞¡π, ∂¡∞™ ¶√∆∞ª√™ ∆√À §πµ∞¡√À
THE LITANI, A LEBANESE RIVER
∏ ºπ§∏ ª√À ∏ ∫∞ƒ¢∂ƒπ¡∞
MY FRIEND THE GOLDFINCH
¶∂º∆∂𠵃√Ã∏
RAIN IS FALLING
∞¡∞ª¡∏™∏ µƒ√Ã∏™
REMEMBERING RAIN
∞¡∞µπø¡√¡∆∞™ ∆√À™ À°ƒ√∆√¶√À™
REVIVING WETLANDS
∏ ƒ√¢√™ ∫∞π ∏ §∂πæÀ¢ƒπ∞ ™∆∞ ¡∏™π∞
RHODES ET LES LES SANS EAU
RHODES AND THE WATER SHORTAGE IN THE ISLANDS
¶ƒø∆∞ ∆√ ¡∂ƒ√
WATER FIRST
¡∂ƒ√, ∞°∞¶∏ ª√À
EAU MON AMOUR / WATER, MY LOVE
∂ƒ°∞ °π∞ TO ¡∂ƒ√ ™∆∏¡ π¡¢π∞: ∆∂™™∂ƒ∂π™ ª∏Ã∞¡π∫√π
∫∞π ∂¡∞™ ¢πAÃ∂πƒπ™∆∏™
WATERWORKS IN INDIA:
FOUR ENGINEERS AND A MANAGER
ª¶§∂ ∆√À À¢ƒ√∫À∞¡π√À
CYANIDE BLUES
™Ô˘Ë‰›· Sweden, 2003
¢È¿ÚÎÂÈ· Running time: 27’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Scandinature Films USA Inc.
1168 Countryside Circle
HEBER CITY UT 84032
USA
Tel: +1 (435) 654 2236
Fax:+1 (435) 654 2503
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·,
ŒÚ¢ӷ, ™ÂÓ¿ÚÈÔ, ¶·Ú·ÁˆÁfi˜
Director, Camera, Research,
Script, Producer: Zoltan Torok
ªÔÓÙ¿˙ Edit: Peter Olofsson
°Ú·ÊÈο Graphics: Hakan Liljegren
ªÔ˘ÛÈ΋ Music: Alan Williams
∞Ê‹ÁËÛË Narration: Bert Deivert
◊¯Ô˜ Sound: Ola Eliasson
∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜
Executive Producer: Bo Landin
110
™‡ÓÔ„ËSynopsis
ÃÂÈÌÒÓ·˜ ÙÔ˘ 2000 Î·È ÙÔ ÂӉȷʤÚÔÓ ÙÔ˘ ∆‡Ô˘ fiÏÔ˘ ÙÔ˘ ÎfiÛÌÔ˘ ÛÙÚ¤ÊÂÙ·È ÚÔ˜ ÙËÓ ∫ÂÓÙÚÈ΋
∂˘ÚÒË. æ¿ÚÈ· Ô˘ Âı·›ÓÔ˘Ó Î·È ÚfiÛˆ· Ô˘ ÎÏ·›Ó ÁÂÌ›˙Ô˘Ó Ù· ÚˆÙÔÛ¤Ïȉ·. ∏ ¯ÂÈÚfiÙÂÚË
ÔÈÎÔÏÔÁÈ΋ ηٷÛÙÚÔÊ‹ Û˘Ó¤‚Ë. ∆Ô Ó· ÓÂÎÚˆı› Ô fiÌÔÚÊÔ˜ Ô˘ÁÁÚÈÎfi˜ ÔÙ·Ìfi˜ ∆›Û·, ‹Ù·Ó fi,ÙÈ
¯ÂÈÚfiÙÂÚÔ ¯Ù‡ËÛ ÔÙ¤ ÙÔ Â˘Úˆ·˚Îfi ¤‰·ÊÔ˜. ∞ÏÏ¿ ÙÈ ·¤ÁÈÓÂ Ô ÔÙ·Ìfi˜ Ô˘ Ù· M¤Û· ·ÔοÏÂÛ·Ó ÓÂÎÚfi, ·ÊÔ‡ ÂÍ·Ûı¤ÓËÛ ÙÔ ÂӉȷʤÚÔÓ ÙÔ˘˜; ∞˘Ù‹ Â‰Ò Â›Ó·È ÌÈ· ıÂÙÈ΋ ÈÛÙÔÚ›· Û¯ÂÙÈο Ì ¤Ó· ÔÙ¿ÌÈ Ô˘ ·ÚÓ‹ıËΠӷ Âı¿ÓÂÈ. ªÂ ÙËÓ ÂÈÛÙÚÔÊ‹ ÙÔ˘ ÂfiÌÂÓÔ˘ ηÏÔηÈÚÈÔ‡ Ë ˙ˆ‹ ÂÈÛÙÚ¤ÊÂÈ ÛÙÔÓ ∆›Û· … ÙÔ ÔÈÎÔÛ‡ÛÙËÌ· ·ÓÙÈÛÙ¤ÎÂÙ·È fiˆ˜ Î·È ÔÈ ¿ÓıÚˆÔÈ.
Winter 2000 and all the world’s press are focused on Central Europe. Dying fish and crying faces
fill the front pages. The worst ecological disaster happened what ever stroked European soils,
killing Hungary’s beautiful river Tisza. But what became of the river that the media called dead,
once their interest had waned? This is a positive story about a river that refused to die. With the
arrival of the following summer, life returns to Tisza… the ecosystem fights back and so do
people.
ECOFILMS
ƒ√¢√™
2005
RODOS
Zoltan Torok
°ÂÓÓ‹ıËΠÛÙË µÔ˘‰·¤ÛÙË Ù˘ √˘ÁÁ·Ú›·˜ ÙÔ 1972. ™Ô‡‰·Û ÁˆÁÚ·Ê›·, Î·È ÙÒÚ· ÂÚÁ¿˙ÂÙ·È ˆ˜ ·ÓÂÍ¿ÚÙËÙÔ˜
ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú Î·È Î¿ÌÂÚ·Ì·Ó ÛÙËÓ √˘ÁÁ·Ú›·. ¶ÚÈÓ ¯ÚfiÓÈ· ÎÈÓ‹ıËΠÚÔ˜ Ù· ÓÙÔÎÈÌ·ÓÙ¤Ú ˘„ËÏ‹˜
ÔÈfiÙËÙ·˜ ÁÈ· ÙË ‰ÈÂıÓ‹ ·ÁÔÚ¿ ÛÂ Û˘ÓÂÚÁ·Û›· Ì ÙË Scandinature Films, fiÔ˘ ÂÚÁ·˙fiÙ·Ó ÁÈ· ¤ÓÙ ¯ÚfiÓÈ· ˆ˜
ÛÎËÓÔı¤Ù˘ Î·È ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙ‹˜. ∞˘Ù‹ ÙËÓ ÂÚ›Ô‰Ô Û˘ÓÂÚÁ¿˙ÂÙ·È Ì ÙËÓ ÂÙ·ÈÚ›· ·Ú·ÁˆÁ‹˜ Natural History New
Zealand ÁÈ· ÙËÓ ÂfiÌÂÓË ÌÂÁ¿ÏË ·Ú·ÁˆÁ‹ ÙÔ˘, Ô˘ ÙÔÓ Ô‰ËÁ› ÛÙËÓ Î·Ú‰È¿ Ù˘ ™È‚ËÚ›·˜.
He was born in Budapest, Hungary in 1972. Graduated as geographer, he is now working as an independent
documentary director and cameraman based in Hungary. Years ago he made the move towards the co-productions
of high-end documentaries for the international market in partnership with Scandinature Films where he was
working for five years as director and cinematographer. In these days he works with the production company called
Natural History New Zealand on his next big project, which takes him to the heart of Siberia.
Zoltan TÔrÔk
Szechenyi ter 11.
Szentendre – 2000
Hungary
∆el: +36 30 99 21 372
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Parting Lands
2004 Icehotel
2004 Flatland Flyers
2003 Realm of the reindeer
2002 Of Moose and Men
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
Wildlife Europe Festival Sundsvall, Sweden
International Wildlife Film Festival, Montana,
USA
International Scientific Film Festival Szolnok,
Hungary
International Festival of Young Filmmakers
Miskolc, Hungary
√ Zoltan Torok
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Zoltan Torok about his film
∆Ô 2000 Û˘Ó¤‚Ë ÛÙËÓ ·ÙÚ›‰· ÌÔ˘ ÌÈ· ·fi ÙȘ
¯ÂÈÚfiÙÂÚ˜ ÔÈÎÔÏÔÁÈΤ˜ ηٷÛÙÚÔʤ˜ ÛÙËÓ ∂˘ÚÒË. ŒÓ· ηӿÏÈ Ù˘ ÛԢˉÈ΋˜ ÙËÏÂfiÚ·Û˘
ÌÔ˘ ˙‹ÙËÛ ӷ Á˘Ú›Ûˆ Ì›· Ù·ÈÓ›· ÁÈ· ÙÔÓ ∆›Û·.
∂ÈÎÂÓÙÚÒıËη ÙfiÛÔ ÛÙËÓ ¿ÁÚÈ· ʇÛË fiÛÔ Î·È
ÛÙȘ ÈÛÙÔڛ˜ ÙˆÓ ·ÓıÚÒˆÓ. ∫·È Ë Ê‡ÛË Úfi‚·Ï ·ÓÙ›ÛÙ·ÛË, ÂÎÏ‹ÙÙÔÓÙ·˜ fiÏÔ˘˜ ·ÎfiÌË
Î·È Ì¤Ó· ÙÔÓ ÌÔÓ·¯ÈÎfi ÛÎËÓÔı¤ÙË, Ô˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÔ‡Û ‰›Ï· ÛÙÔ ÔÙ¿ÌÈ.
One of the worst ecological catastrophes of
Europe happened in my country in 2000. I
was asked by a Swedish television channel to
make a film about it. I was focusing both on
the wildlife and both the people’s story. And
the nature fought back –surprising everyone
including me, the lonely filmmaker shooting
all along the river.
ECOFILMS
ƒ√¢√™
2005
RODOS
111
√π ∂∫µ√§∂™ ∆√À ¢∂¡¢ƒ√¶√∆∞ª√À
THE ESTUARIES OF DENDROPOTAMOS
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 6’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
¶¤ÓÓ˘ ™ÂÊÂÚÈ¿‰Ô˘
∫Ú˘ÔÓÂÚ›Ô˘ 37A, ™˘ÎȤ˜
56626 £ÂÛÛ·ÏÔÓ›ÎË
∂ÏÏ¿‰·
Penny Seferiadou
Kryoneriou 37A, Sykies
56626 Thessaloniki
Greece
Tel: +30 2310 588299, +30 6974 489541
Email: [email protected]
™ÎËÓÔı¤Ù˘, ªÔÓÙ¿˙ Director, Edit:
¶¤ÓÓ˘ ™ÂÊÂÚÈ¿‰Ô˘ Penny Seferiadou
∫¿ÌÂÚ· Camera: °ÈÒÚÁÔ˜ ∞Ú·Ù˙fiÁÏÔ˘
George Arpatzoglou
ŒÚ¢ӷ Research: ¶¤ÓÓ˘ ™ÂÊÂÚÈ¿‰Ô˘,
∂ÏÈÛ¿‚ÂÙ ∑·ÚÔ̇ÙË Penny Seferiadou,
Elisavet Zaromyti
ªÔ˘ÛÈ΋ Music: Joe Satriani
™‡ÓÔ„ËSynopsis
∆Ô ‚ϤÌÌ· ηٿ ÙÔÓ ¶·ÚÌÂÓ›‰Ë Â›Ó·È Ë ÂÁÁ‡ÙËÙ· Ù˘ ÂÓfiÙËÙ·˜ Ì ÙËÓ ·fiÛÙ·ÛË, ÔÚ›˙ÂÙ·È ‰ËÏ·‰‹
ˆ˜ Ô ÂӉȿÌÂÛÔ˜ ¯ÒÚÔ˜ ‰˘Ô ·ÓÙÈÎÂÈÌ¤ÓˆÓ Ô˘ Á›ÓÔÓÙ·È ¤Ó· ̤۷ ·fi ÙË ÏÂÈÙÔ˘ÚÁ›· Ù˘ fiÚ·Û˘.
ª¤Û· ·fi ·˘Ù‹Ó ÙËÓ ÔÙÈ΋, ÂȯÂÈÚÂ›Ù·È Ë ‰ÈÂÚ‡ÓËÛË ÙˆÓ Â΂ÔÏÒÓ ÙÔ˘ ÂÚÈ·ÛÙÈÎÔ‡ ÎÂÓÔ‡ ÙÔ˘
¢ÂÓ‰ÚÔfiÙ·ÌÔ˘, ÁÓˆÛÙÔ‡ Î·È ˆ˜ ·fiÏËÍË ÙÔ˘ ÈÛÙÔÚÈÎÔ‡ ‰˘ÙÈÎÔ‡ ÙfiÍÔ˘, Û ‰˘Ô ηÙ¢ı‡ÓÛÂȘ.
™Â ÌÈ· ηÙ‡ı˘ÓÛË ‚ÔÚÚ¿-ÓfiÙÔ˘ ÙÔ Ú¤Ì· ·ÓÙÈÌÂÙˆ›˙ÂÙ·È ˆ˜ ¤Ó· fiÚÈÔ Ô˘ Û˘Ó¯Ҙ Â͈ı›ٷÈ
ÚÔ˜ ÙÔ ¯ÒÚÔ Ù˘ ı¿Ï·ÛÛ·˜, Ì ÂÈ‚ÏËÙÈΤ˜ Û‡Á¯ÚÔÓ˜ Ù¯ÓËÙ¤˜ ÚÔÂÎÙ¿ÛÂȘ Ó· ·ÓÙÈ·Ú·Ù›ıÂÓÙ·È Ì ÌÈÎÚ¤˜ ·˘ÙÔÛ¯¤‰È˜ «Ê˘ÛÈΤ˜» ÚÔÂ΂ÔϤ˜. ™Â ÌÈ· ηÙ‡ı˘ÓÛË ·Ó·ÙÔÏ‹˜-‰‡Û˘, ÙÔ Ú¤Ì·
·ÓÙÈÌÂÙˆ›˙ÂÙ·È Î·È ¿ÏÈ ˆ˜ ¤Ó· fiÚÈÔ ·Ó¿ÌÂÛ· ÛÙÔ ·ÛÙÈÎfi Î·È ÌË ·ÛÙÈÎfi ÙÔ›Ô, ÔÔ‡ ·ÓÙÈ·Ú·Ù›ıÂÓÙ·È Û‡Á¯ÚÔÓ˜ ÂÌÔÚÈΤ˜ ·Ó·Ï¿ÛÂȘ Ì ÏÔ‡ÛȘ ·Ú¿ÎÙȘ ‰Ú·ÛÙËÚÈfiÙËÙ˜ Î·È ·ÏȤ˜ ‚ÈÔÌ˯·ÓÈΤ˜ ÂÁηٷÛÙ¿ÛÂȘ.
The look for Parmenidis is the proximity of unit with distance. In other words it is the
intermediary space of two objects that become one through the operation of sight. Through
this point of view, an exploration of the estuaries of the suburban void of Dendropotamos in
Thessaloniki is attempted, known as the ending of the west arc, in two directions. In a northsouth direction, the stream is faced as a boundary which is continuously forced towards the sea,
where imposing modern artificial extensions colide with natural ephemeral small ones. In an
east-west direction, the stream is faced again as a boundary between the urban and non-urban
landscape, where modern commercial reformations colide with rich coastal activities and old
industrial installations.
112
ECOFILMS
ƒ√¢√™
2005
RODOS
¶¤ÓÓ˘ ™ÂÊÂÚÈ¿‰Ô˘
°ÂÓÓ‹ıËΠÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ 1980. ∂Λ ÛÔ‡‰·Û ·Ú¯ÈÙÂÎÙÔÓÈ΋. ¶·Ú·ÎÔÏÔ‡ıËÛ ̷ı‹Ì·Ù· ʈÙÔÁÚ·Ê›·˜,
ÁÏ˘ÙÈ΋˜ Î·È ‹Ú ̤ÚÔ˜ ÛÙËÓ ·Ú·ÁˆÁ‹ ÌÈ·˜ Ù·ÈÓ›·˜ ÁÈ· ÙË §¤Û‚Ô. ∆· ÙÂÏÂ˘Ù·›· ‰˘Ô ¯ÚfiÓÈ· ÂÍÂÚÂ˘Ó¿ ÌÂ
‰È¿ÊÔÚÔ˘˜ ÙÚfiÔ˘˜ ÙÔÓ ·‰fiÌËÙÔ ¯ÒÚÔ, ¤Ó·˜ ÂÎ ÙˆÓ ÔÔ›ˆÓ Â›Ó·È Î·È ÙÔ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ ‚›ÓÙÂÔ ÁÈ· ÙȘ Â΂ÔϤ˜
ÙÔ˘ ¢ÂÓ‰ÚÔfiÙ·ÌÔ˘.
Penny Seferiadou
Born in Thessaloniki in 1980, where she studied Architecture. She has attended lessons of photography,
sculpture, and participated in the film making of a documentary about he island of Lesvos. The last two years
she explores the un-built environment in many ways, one of which is the short video about the estuaries of
Dendropotamos.
¶¤ÓÓ˘ ™ÂÊÂÚÈ¿‰Ô˘
∫Ú˘ÔÓÂÚ›Ô˘ 37A, ™˘ÎȤ˜
56626 £ÂÛÛ·ÏÔÓ›ÎË
∂ÏÏ¿‰·
Penny Seferiadou
Kryoneriou 37A, Sykies
56626 Thessaloniki
Greece
Tel: +30 2310 588299, +30 6974 489541
Email: [email protected]
∏ ¶¤ÓÓ˘ ™ÂÊÂÚÈ¿‰Ô˘
ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Penny Seferiadou
about her film
ŒÓ·˜ ÚˆÙ·Ú¯ÈÎfi˜ ÏfiÁÔ˜ ¢·ÈÛıËÙÔÔ›ËÛ˘
ÚÔ˜ ÙÔ Ú¤Ì· ÙÔ˘ ¢ÂÓ‰ÚÔÔÙ¿ÌÔ˘ ‹Ù·Ó Ë ·ÁˆÓ›· ÁÈ· ·˘ÙfiÓ ÙÔÓ Ê˘ÛÈÎfi fiÚÔ, ÙÔ˘ ÔÔ›Ô˘
ÔÈ «Â΂ÔϤ˜» ¤¯Ô˘Ó Ô˘ÛÈ·ÛÙÈο ÌÂÙ·ÙÚ·› Û‹ÌÂÚ· Û «·Ô‚ÔϤ˜» ¿Û˘ ʇÛˆ˜ Ú‡ˆÓ. √
ÙfiÔ˜ ‰È·‚¿˙ÂÙ·È Î·Ù·Ú¯‹Ó ̤۷ ·fi Û˘Ó¯›˜
‰ÈÔÏÈΤ˜ Û¯¤ÛÂȘ fiˆ˜ ·ÚfiÓ- ·ÚÂÏıfiÓ, ·ÛÙÈÎfi- ÌË ·ÛÙÈÎfi, ÎÙÈṲ̂ÓÔ -¿ÎÙÈÛÙÔ, ÂÓÂÚÁfi-·ÓÂÓÂÚÁfi, Â͢ÁÈ·Ṳ̂ÓÔ-ÌÔÏ˘Ṳ̂ÓÔ, ÂÓÙfi˜- ÂÎÙfi˜, Ë Û˘Ó‰È·ÏÏ·Á‹ ÙˆÓ ÔÔ›ˆÓ ¤¯ÂÈ ÛÎÔfi
Ó· ·Ó·‰Â›ÍÂÈ ÙÂÏÈο ÙÔ ·Ï›Ì„ËÛÙÔ ÙÔ˘ ÙfiÔ˘
Î·È ÙË ÌÔÓ·‰ÈÎfiÙËÙ· ÙÔ˘ ÛÙÔ ¯ÚfiÓÔ Î·È ÛÙÔ
¯ÒÚÔ. ∫ÈÓËÙ‹ÚÈ· ¤ÎÊÚ·ÛË ‹Ù·Ó Ë ÂÍ‹˜: «›Ûˆ˜
fi,ÙÈ ‚Ú›ÛÎÂÙ·È ¤Íˆ, ‚Ú›ÛÎÂÙ·È Î·Ù¿ οÔÈÔ ÙÚfiÔ Î·È Ì¤Û· Ì·˜».
A fundamental reason for bringing awareness
to the stream of Dendropotamos was the
distress for this natural resource whose
"estuaries" today substantially have been
changed to "expulsions" of all sorts of
pollutants. The place is firstly seen upon
through continuous bipolar relations such as
present-past, urban-not urban, built–not
build, active-inactive, cleanse-polluted, innerouter, the reconciliation of which aims to
finally present the palimpsest of place and its
uniqueness in time and in space. Motive
expression was the following: "perhaps, what
exists out there, can somehow also exist
inside us".
ECOFILMS
ƒ√¢√™
2005
RODOS
113
¶∞ƒ∞¶√∆∞ªπ∂™ ¶∂¢π∞¢∂™
VOORLAND / FORELAND
√ÏÏ·Ó‰›·
∆he Netherlands, 2005
¢È¿ÚÎÂÈ· Running time: 70’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Ruim Kader Films
Jan Bernardusstraat 25/3
1091 TS Amsterdam
The Netherlands
Tel: +31 20 668 4398
Email: [email protected]
™ÎËÓÔı¤Ù˜ Directors:
Albert Elings, Eugenie Jansen
◊¯Ô˜ Sound: Albert Elings
∫¿ÌÂÚ·, ªÔÓÙ¿˙
Camera, Edit: Eugenie Jansen
∫¿ÌÂÚ·, ªÔ˘ÛÈ΋
Camera, Music: Rob Smits
¢È‡ı˘ÓÛË ¶·Ú·ÁˆÁ‹˜
Production Manager: Jaap van Hoewijk
ŒÚ¢ӷ Research: Chiel Jaspers
™‡ÓÔ„ËSynopsis
™ÙȘ fi¯ı˜ ÙÔ˘ ÔÙ·ÌÔ‡ ¡¤ÓÙÂÚÈÓ ‚Ú›ÛÎÂÙ·È ÙÔ §fi‚·ÚÓÙ, Ì›· fiÌÔÚÊË ¤ÎÙ·ÛË ˘ÁÚÔ‡ ÏÈ‚·‰ÈÔ‡ ÌÂٷ͇ ÙˆÓ ·Ó·¯ˆÌ¿ÙˆÓ Î·È ÙÔ˘ ¡¤ÓÙÂÚÈÓ. ŸÙ·Ó Ë ÛÙ¿ıÌË ÙÔ˘ ÓÂÚÔ‡ ·Ó‚·›ÓÂÈ, Ô ÔÙ·Ìfi˜ ÏËÌÌ˘Ú›˙ÂÈ ÙȘ fi¯ı˜ ÙÔ˘ Î·È Î·Ù·Ï·Ì‚¿ÓÂÈ Ù· ÏÈ‚¿‰È·, ÙÔ˘˜ Ô‰ËÏ·ÙÔ‰ÚfiÌÔ˘˜ Î·È ÙË ÁË. ªÂÙ¿ ·fi
ηÈÚfi Ù· ÓÂÚ¿ Ì·˙‡ÔÓÙ·È. ∆· Ê·Ó¿ÚÈ· ÂȉÈÔÚıÒÓÔÓÙ·È Î·È ÔÈ ·ÁÂÏ¿‰Â˜ ‚fiÛÎÔ˘Ó ¿ÏÈ Â˘¯·ÚÈÛÙË̤Ó˜ ÛÙÔÓ ‹ÏÈÔ. ∆fiÙ ÙÔ §fi‚·ÚÓÙ ÌÂÙ·ÙÚ¤ÂÙ·È ¿ÏÈ Û ÁË, ÙÔ˘Ï¿¯ÈÛÙÔÓ fiÛÔ ÙÔ ÂÈÙÚ¤ÂÈ Ô ÔÙ·Ìfi˜.
°È· ÂÙ¿ ¯ÚfiÓÈ· ÔÈ Elings Î·È Jansen ÎÈÓËÌ·ÙÔÁÚ·ÊÔ‡Û·Ó ÙË Û˘Ó¯‹ ΛÓËÛË ÙˆÓ ÓÂÚÒÓ Î·È ÙˆÓ ÂÔ¯ÒÓ, ¯ˆÚ›˜ ÔÔÈÔ‰‹ÔÙ ۯfiÏÈÔ, Ì ÓËÊ¿ÏÈÔ ‡ÊÔ˜ Î·È Ô͇ ‚ϤÌÌ· ÁÈ· ÙËÓ ÏÂÙÔ̤ÚÂÈ·. ∞˘Ùfi
Ô‰‹ÁËÛ Û ÂÙ¿ ÔÈËÙÈο ÎÂÊ¿Ï·È·, ÛÙ· ÔÔ›· ‰ÂÓ ·Îԇ̠ۯ‰fiÓ Î·Ó¤Ó·Ó Ó· ÌÈÏ¿ÂÈ, ÂÓÒ ‰›ÓÂÙ·È Ë ‰˘Ó·ÙfiÙËÙ· ÛÙÔ ÙÔ›Ô Ó· ÂÈ ÙËÓ ÈÛÙÔÚ›· ÙÔ˘.
ÃÚÂÈ¿ÛÙËΠ·ÚÎÂÙfi ηÈÚfi, Ì· ÛÙÔ ÌÂٷ͇ Ë ÚfiÔ‰Ô˜ ¤ÊÙ·Û ÛÙÔ §fi‚·ÚÓÙ. øÛÙfiÛÔ Ë ·ÓıÚÒÈÓË
‰Ú·ÛÙËÚÈfiÙËÙ·, fiÛÔ ÂÓÔ¯ÏËÙÈ΋ ÎÈ ·Ó ›ӷÈ, ÌÔÈ¿˙ÂÈ Ó· Â›Ó·È ÌfiÓÔ ÌÈ· ·Ú¿ÍÂÓË ˘ÔÛËÌ›ˆÛË
ÛÙËÓ ÈÛÙÔÚ›· ÙÔ˘ Ì·Á¢ÙÈο fiÌÔÚÊÔ˘ Î·È Ôχ ÔÏÏ·Ó‰ÈÎÔ‡ ÙÔ›Ô˘.
On the banks of the Nederrijn River is Loowaard, a beautiful stretch of water meadow between
the dykes and the Nederrijn. When water levels rise, the river floods its banks and takes
possession of the meadows, cycle paths and the land. A season later, the tide has turned again.
Traffic signs are straightened and cows graze again contentedly in the sun. Then Loowaard
turns into land again, at least for as long as the river allows.
For seven years, Elings and Jansen filmed the coming and going of the water and the seasons –
without any commentary, soberly styled and with a sharp eye for detail. This resulted in seven
poetic chapters in which we hardly hear anyone speak and the landscape is given the space to
tell its own story.
It took quite a time, but in the meantime progress has reached Loowaard. Yet human activity,
however intrusive, only seems a strange footnote in the story of a breathtakingly beautiful and
very Dutch landscape.
114
ECOFILMS
ƒ√¢√™
2005
RODOS
Albert Elings
√ Albert Elings ÁÂÓÓ‹ıËΠÛÙÔ µ¿ÏÌÔ˘ÚÁÎ, ÌÂٷ͇ ÙˆÓ ÌÂÁ¿ÏˆÓ ÔÙ·ÌÒÓ Ù˘ √ÏÏ·Ó‰›·˜, Î·È ÛÔ‡‰·Û ÛÙËÓ
∞η‰ËÌ›· ∂ÈηÛÙÈÎÒÓ ∆¯ÓÒÓ ÛÙËÓ √ÏÏ·Ó‰È΋ ∞η‰ËÌ›· ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ∆ËÏÂfiÚ·Û˘ ÛÙÔ ÕÌÛÙÂÚÓÙ·Ì.
∞fi ÙÔ 1991 Â›Ó·È ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú. ¶ÔÏϤ˜ ·fi ÙȘ Ù·Èӛ˜ ÙÔ˘ ¯·Ú·ÎÙËÚ›˙ÔÓÙ·È ·fi ¤Ó· ÂӉȷʤÚÔÓ ÁÈ·
ÙȘ ·ÏÏ·Á¤˜ ÛÙÔ ¯ÚfiÓÔ, Î·È ·Ú·ÎÔÏÔ˘ıÔ‡Ó Ì·ÎÚÔÚfiıÂÛ̘ ÂÍÂÏ›ÍÂȘ.
Albert Elings (1965, Valburg, between the great rivers of Holland) studied at the Academy for Visual Arts and
at the Dutch Film and Television Academy in Amsterdam. He has been a documentary film maker since 1991.
Many of his films are characterised by a preoccupation with changes in time and follow long-term processes.
Eugenie Jansen
Albert Elings
Jan Bernardusstraat 25/3
1091 TS Amsterdam
The Netherlands
Tel: +31 20 668 4398
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Foreland
2003 the winking machine
2002 the Royal Wedding tapes
2002 Meantime
2001 Up!
2000 a Daily Life
2000 Kitty
1998 Nonnevotte
1998 La cometa
1997 De laatste draad
1996 Scary Man
1994 Het feit dat ik besta
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
International Documentary Film Festival
Contact, Kiev
8th Thessaloniki Documentary Festival
idf Amsterdam
L’Alternativa 2005 12th Independent Film
Festival of Barcelona
Leeds Int. Filmfestival, England
Yamagata International Filmfestival, Japan
Nederlands Filmfestival, Utrecht
IFFR, Rotterdam
∏ Eugenie Jansen, ÁÂÓÓ‹ıËΠÛÙÔ ª¿·ÛÙÚȯ٠ÙÔ 1965 Î·È ·ÔÊÔ›ÙËÛ ·fi ÙËÓ √ÏÏ·Ó‰È΋ ∞η‰ËÌ›·
∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ∆ËÏÂfiÚ·Û˘ Ì ÙËÓ Ù·ÈÓ›· Ì˘ıÔÏ·Û›·˜ "Koekoekskinderen". ∂ÚÁ¿ÛÙËΠˆ˜ ‚ÔËıfi˜
ÛÎËÓÔı¤ÙË Û ‰È¿ÊÔÚ˜ Ù·Èӛ˜ Ì˘ıÔÏ·Û›·˜ Î·È ˆ˜ ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú. ∏ Ù·ÈÓ›· "Tussenland" ‹Ù·Ó ÙÔ
ÓÙÂÌÔ‡ÙÔ Ù˘ Û ٷÈÓ›· ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Î·È Î¤Ú‰ÈÛ ÙÔÓ «∆›ÁÚË» ÛÙÔ ÊÂÛÙÈ‚¿Ï ÙÔ˘ ƒfiÙÂÚÓÙ·Ì ÙÔ 2002.
Eugenie Jansen (1965, Maastricht) graduated in 1991 from the Dutch Film and Television Academy with her
fiction film Koekoekskinderen. She worked as assistant director for several feature films and as documentary
filmmaker. Tussenland/Sleeping Rough was her feature debut and won a Tiger Award at the 2002
International Film Festival Rotterdam.
√È Albert Elings
Î·È Eugenie Jansen
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘˜
Albert Elings
and Eugenie Jansen
about their film
∆· ˘‰¿ÙÈÓ· ÏÈ‚¿‰È· Û¯ËÌ·Ù›˙Ô˘Ó ¤Ó· ͯˆÚÈÛÙfi ÎfiÛÌÔ. ÕÓıÚˆÔÈ, ˙Ò· Î·È ÎÙ›ÚÈ· ·ÔÎÙÔ‡Ó ÌÈ· ‰È·ÊÔÚÂÙÈ΋ ÌÔÚÊ‹ ̤۷ ·fi ·˘Ù‹
ÙËÓ ÔÙÈ΋ ÁˆÓ›·. ∂›Ó·È Ô È‰·ÓÈÎfi˜ ‚ÈfiÙÔÔ˜ Ó·
ÌÂÏÂÙ‹ÛÂÈ Î·Ó›˜ ÙÔ ¯ÚfiÓÔ Î·È Ó· ÚÔÛ·ı‹ÛÂÈ
Ó· Û˘ÏÏ¿‚ÂÈ ÙÔ ¯ÚfiÓÔ. ∂ÊfiÛÔÓ Ì›ÓÂȘ Ó· ÎÔÈÙ¿˙ÂȘ Î·È Ó· ·ÎÔ‡˜ ÁÈ· ·ÚÎÂÙfi ¯ÚfiÓÔ ÙÔ ›‰ÈÔ
ÎÔÌÌ¿ÙÈ ÙÔ˘ ˘‰¿ÙÈÓÔ˘ ÏÈ‚·‰ÈÔ‡ (Î·È ¿Óˆ ·’
fiÏ· ·ÔʇÁÂȘ Ó· ÌÈÏ¿˜ ÁÈ’ ·˘Ùfi), ›Ûˆ˜ ÙfiÙ ӷ
ÌÔÚ¤ÛÂȘ Ó· ‰ÂȘ ÙÔ ¯ÚfiÓÔ Ó· Ú¤ÂÈ Ì¤Û· ÙÔ˘.
∫·È ÔÈ ·ÓıÚÒÈÓ˜ ·fi„ÂȘ Û¯ÂÙÈο Ì ÙËÓ ÚfiÔ‰Ô ÏÈÎÓ›˙ÔÓÙ·È ¿Óˆ ÛÙ· ·̷ٿ ÙÔ˘. ∞˘Ùfi ‹Ù·Ó ÙÔ Ì¿ÏÏÔÓ ÚÔÌ·ÓÙÈÎfi ÛËÌÂ›Ô ÂÎΛÓËÛ˘ ÁÈ’
·˘Ù‹ ÙËÓ Ù·ÈÓ›·.
√È «¶·Ú·ÔÙ¿ÌȘ ‰ȿ‰Â˜» Â›Ó·È Ë ‚›ˆÛË ÙÔ˘
¯ÚfiÓÔ˘, Ô˘ Ú¤ÂÈ Ì¤Û· ·fi ¤Ó· ÌÔÓ·‰ÈÎfi ÔÏÏ·Ó‰ÈÎfi ÙÔ›Ô ÁÈ· ÂÙ¿ ¯ÚfiÓÈ·.
The water meadows form a world apart.
People, animals and buildings acquire a
different appearance from this perspective. It
is the ideal biotope to study time, to try and
capture time. As long as you keep looking,
and listening, long enough to the same piece
of water meadow (and above all avoid talking
about it), then eventually you can see time
flow through it. And human opinions about
progress undulate on its waves. That was the
rather romantic point of departure for this
film.
"Foreland" is the experience of time, flowing
through a unique Dutch landscape, for seven
years.
ECOFILMS
ƒ√¢√™
2005
RODOS
115
∂¢∞º∏ ∆√À °§À∫√À ¡∂ƒ√À
TIERRAS DE AGUA DULCE / FRESHWATER LANDS
µÂÓÂ˙Ô˘¤Ï· Venezuela, 2005
¢È¿ÚÎÂÈ· Running time: 50’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
CAMARA FILMS
Ana Cristina Henriquez
9 trans. entre 4 & 5 Avds.
Qta. Luna, Los Palos Grandes
Caracas 1060 - VENEZUELA
Tel: +58 416 6315252
Email: [email protected]
™ÎËÓÔı¤Ù˘, ŒÚ¢ӷ, ™ÂÓ¿ÚÈÔ,
¶·Ú·ÁˆÁfi˜, ∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜
Director, Research, Script, Producer,
Executive Producer:
Ana Cristina Henriquez
∫¿ÌÂÚ· Camera: Antolin Sanchez
ªÔÓÙ¿˙ Edit: Carolina Aular
°Ú·ÊÈο Graphics: Efrain Burdeinick
ªÔ˘ÛÈ΋ Music: Miguel Noya
◊¯Ô˜ Sound: Frank Rojas
116
™‡ÓÔ„ËSynopsis
√È ‰ȿ‰Â˜ Ù˘ µÂÓÂ˙Ô˘¤Ï·˜ ·ÔÙÂÏÔ‡Ó ¤Ó· ·fi Ù· ÈÔ ·Ú·ÁˆÁÈο ÔÈÎÔÛ˘ÛÙ‹Ì·Ù· Ù˘ °Ë˜, Ô
ÔÙ·Ìfi˜ √ÚÈÓfiÎÔ, Ô˘ ıˆÚÂ›Ù·È Ì›· ·fi ÙȘ ÙÚÂȘ ÛËÌ·ÓÙÈÎfiÙÂÚ˜ ÏÂοÓ˜ ·ÔÚÚÔ‹˜ ÔÙ·ÌÒÓ
ÛÙÔÓ ÎfiÛÌÔ, ‰È·ÌÔÚÊÒÓÂÈ Ì¤ÚÔ˜ ÙÔ˘˜, Î·È ·ÔÙÂÏ› ÙÔÓ ÙÚ›ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ˘ÁÚfiÙÔÔ Ù˘ ¡ÔÙ›Ô˘
∞ÌÂÚÈ΋˜. ∂ÓÙÔ‡ÙÔȘ Ë ·Í›· Î·È Ë ÛËÌ·Û›· ÙÔ˘˜ ‰ÂÓ ¤¯ÂÈ Á›ÓÂÈ ÁÓˆÛÙ‹ ÛÙÔ Â˘Ú‡ ÎÔÈÓfi. ™‹ÌÂÚ· Ë
¢ıÚ·˘ÛÙfiÙËÙ¿ ÙÔ˘˜, ÂÎı¤ÙÂÈ Û ΛӉ˘ÓÔ Î·È ¤Ó·Ó ·˘Í·ÓfiÌÂÓ· ·ÓÂ·Ú΋ ‰ÈÂıÓ‹ Ê˘ÛÈÎfi fiÚÔ: ÙÔ
ÁÏ˘Îfi ÓÂÚfi.
The Venezuelan plains are one of the most productive ecosystems on Earth, the Orinoco River,
considered to be the third most important river basin in the world, forms part of them, and
make up the third largest wetland in South America. Nevertheless, their value and importance
has not been made known to the general public at large. Today their fragility also endangers an
increasingly scarce world resource: fresh water.
ECOFILMS
ƒ√¢√™
2005
RODOS
Ana Cristina Henriquez
°ÂÓÓ‹ıËΠÛÙË µÂÓÂ˙Ô˘¤Ï· Î·È ÛÔ‡‰·Û ÛÙË ™¯ÔÏ‹ ∫ÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ∆ËÏÂfiÚ·Û˘ ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ Ù˘
¡fiÙÈ·˜ ∫·ÏÈÊfiÚÓÈ· (USC). ∂‰Ò Î·È 25 ¯ÚfiÓÈ· ·Û¯ÔÏÂ›Ù·È Ì ÙË ÛÎËÓÔıÂÛ›· Î·È ÙËÓ ·Ú·ÁˆÁ‹, Î·È Â›Ó·È Î¿ÙÔ¯Ô˜
ÔÏÏÒÓ ÂıÓÈÎÒÓ Î·È ‰ÈÂıÓÒÓ ‚Ú·‚›ˆÓ. ∂›Ó·È ÛÎËÓÔı¤Ù˘ Î·È Û˘Ó-ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜ Ù˘ Ù·ÈÓ›·˜ Ì˘ıÔÏ·Û›·˜
"Luna Llena", ÌÈ·˜ Û˘Ì·Ú·ÁˆÁ‹˜ µÂÓÂ˙Ô˘¤Ï·˜-°·ÏÏ›·˜. Œ¯ÂÈ ÂÚÁ·ÛÙ› ÛÙËÓ ÂÎÙ¤ÏÂÛË ·Ú·ÁˆÁ‹˜ ·ÏÏ¿ Î·È ˆ˜
ÛÎËÓÔı¤Ù˘ Î·È ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜ Û ÔÏÏ¿ ÓÙÔÎÈÌ·ÓÙ¤Ú Î·È ÙËÏÂÔÙÈΤ˜ ·Ú·ÁˆÁ¤˜ Ì ‰ÈÂıÓ‹ Î¿Ï˘„Ë. ∞˘Ù‹ ÙËÓ
ÂÚ›Ô‰Ô ÂÙÔÈÌ¿˙ÂÈ ÌÈ· ÛÂÈÚ¿ ÙËÏÂÔÙÈÎÒÓ ÓÙÔÎÈÌ·ÓÙ¤Ú ·ÊÈÂڈ̤ӷ ÛÙÔ Ê˘ÛÈÎfi ÎfiÛÌÔ, ÌÂٷ͇ ¿ÏψÓ, ÙÔ
‚Ú·‚Â˘Ì¤ÓÔ «∂‰¿ÊË ÙÔ˘ ÁÏ˘ÎÔ‡ ÓÂÚÔ‡» Î·È ÙÔ «™ÙÔ˘˜ Úfiԉ˜ ÙÔ˘ ∫·Ó¿ÈÌ·».
Ana Cristina Henriquez
Tel: +58 416 631 5252
Email: [email protected]
Born in Venezuela, studied at the School of Cinema – Television of the University of Southern California (USC).
She has been an audiovisual producer and director for over 25 years, holder of many national and
international prizes. Producer, director and co writer of feature film "Luna Llena", a Venezuelan-French coproduction. She has worked as an executive producer, director and scriptwriter on various documentaries and
TV programs with international coverage. She is currently working on a series of TV documentaries dedicated
to the natural world such as award winning documentary "Freshwater Lands", "At the foot of Canaima",
among others.
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 A los pies de Canaima (Post
Production)
2005 Tierras de Agua Dulce
2000-2002 Archivos del Mas Alla
1995 Autana, Arbol de la Vida
1994 Jaguar, Dios Y Demonio
1992 Luna Llena
1987-1989 Viajando con Polar
1982 La Casa de Pandora
1979 La Turas
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 IV World Water Forum
Award or the Best Environmental and
Sustainable Development
Documentary at the IV International
Hispanoamerican Independent Video
Documentary Festival
2005 Jackson Hole Wildlife Film Festival
H Ana Cristina Henriquez
ÙËÓ Ù·ÈÓ›· Ù˘
Ana Cristina Henriquez
about her film
ŸÙ·Ó ÍÂΛÓËÛ· Ó· Á˘Ú›˙ˆ ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú
«∂‰¿ÊË ÙÔ˘ ÁÏ˘ÎÔ‡ ÓÂÚÔ‡» ‹ıÂÏ· Ó· ‰Â›Íˆ
ÙËÓ ÛÔ˘‰·ÈfiÙËÙ· Ù˘ ‰È·Ù‹ÚËÛ˘ ÙˆÓ llanos
(‰ȿ‰ˆÓ) ˆ˜ ÂÚÈÔ¯¤˜ Ì ÌÂÁ¿ÏË ‚ÈÔÔÈÎÈÏfiÙËÙ· ÁÈ· ÙÔ˘˜ ηÙÔ›ÎÔ˘˜ ÙÔ˘˜ µÂÓÂ˙Ô˘¤Ï·˜, ·ÚÁfiÙÂÚ· ›¯· ÙËÓ ÂÈı˘Ì›· Ó· οӈ ÁÓˆÛÙ‹ ÙË
ÛËÌ·Û›· ·˘ÙÔ‡ ÙÔ˘ ˘ÁÚÔÙfiÔ˘ ÁÈ· ÙË ÓÔÙÈÔ·ÌÂÚÈηÓÈ΋ ‹ÂÈÚÔ Î·È ÙÂÏÈο Û˘ÓÂȉËÙÔÔ›ËÛ·
ÙÔ fiÛÔ ˙ˆÙÈ΋˜ ÛËÌ·Û›·˜ Â›Ó·È ·˘Ùfi˜ Ô ˘‰¿ÙÈÓÔ˜ fiÚÔ˜ ÁÈ· ¤Ó·Ó ÔÏÔ¤Ó· ÍËÚfiÙÂÚÔ ÎfiÛÌÔ.
When I started to shoot the documentary
"Tierras de agua dulce" (Freshwater Lands) I
was inspired to reveal the importance of
conserving the llanos (plains) as a bio diverse
territory for the Venezuelan people, later by
the desire to make known the importance of
this wetlands for the South American
continent and finally I realised how crucial this
water resource is for an increasing arid world.
ECOFILMS
ƒ√¢√™
2005
RODOS
117
Ã∞πƒ∂∆π™ª∞∆∞ ∞¶√ ∆∏¡ ∫√π§∞¢∞ ∆√À £∞¡∞∆√À
GREETINGS FROM DEATH VALLEY
∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ, ∏¶∞
UK, USA, 2005
¢È¿ÚÎÂÈ· Running time: 21’ 28’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
National Film and Television School
Beacofield Studios
Station Road
Beaconfield
Bucks HP9 1LG
UK
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ·, ¶·Ú·ÁˆÁfi˜
Director, Camera, Producer:
Joanna Wright
ªÔÓÙ¿˙ Edit: Ariadna Fatjo-Vilas
◊¯Ô˜ Sound: Dilip Harris
ªÔ˘ÛÈ΋ Music: Matthew Davidson
™‡ÓÔ„ËSynopsis
ªÂÙ¿ ·fi ÌÈ· ¿Ó¢ ÚÔËÁÔ˘Ì¤ÓÔ˘ ‚ÚÔ¯fiÙˆÛË Ë ¤ÚËÌÔ˜ ÛÙÔ ¡Ù¤ı µ¿ÏÂ˚ Á¤ÌÈÛ ÏÔ˘ÏÔ‡‰È·.
ªÈ·˜ Î·È Î¿ÙÈ Ù¤ÙÔÈÔ Â›¯Â ¯ÚfiÓÈ· Ó· Û˘Ì‚Â›, Ù· ÏÔ˘ÏÔ‡‰È· ÚÔÛ¤ÏÎ˘Û·Ó ÙÔ˘Ú›ÛÙ˜ ·fi fiÏÔ ÙÔÓ
ÎfiÛÌÔ. ∏ Ù·ÈÓ›· «Ã·ÈÚÂÙ›ÛÌ·Ù· ·fi ÙËÓ ∫ÔÈÏ¿‰· ÙÔ˘ £·Ó¿ÙÔ˘» ·ÊËÁÂ›Ù·È ÙÚÂȘ ÈÛÙÔڛ˜ ·˘ÙÔ‡
ÙÔ˘ ͯ·Ṳ̂ÓÔ˘ ÙÔ›Ô˘: ÁÈ· ÙÔ˘˜ ‰‡Ô ÙÂÏÂ˘Ù·›Ô˘˜ ηÙÔ›ÎÔ˘˜ Ù˘ fiÏ˘ ¯Ú˘ÛÔı‹ÚˆÓ, ÁÈ· ÙÔ ¯ˆÚÈfi ÛÙËÓ ¿ÎÚË ÌÈ·˜ Ï›ÌÓ˘ Ô˘ ÛÙ¤Ú„ ÂÊԉȿ˙ÔÓÙ·˜ Ì ÓÂÚfi ÙË Ì·ÎÚÈÓ‹ fiÏË ÙÔ˘ §Ô˜ ÕÓÙ˙ÂϘ,
ÁÈ· ÙËÓ ÂÚÈÔ¯‹ Ô˘ ¤¯ÂÈ ÚÔÙ·ı› Ó· Á›ÓÂÈ Ô ÌÂÁ·Ï‡ÙÂÚÔ˜ ¯ÒÚÔ˜ ·Ôı‹Î¢Û˘ ˘ÚËÓÈÎÒÓ ·Ô‚Ï‹ÙˆÓ ÙˆÓ ∏¶∞. ∆Ô ÏfiÁÔ ¤¯Ô˘Ó ÔÈ Î¿ÙÔÈÎÔÈ Ô˘ ˙Ô˘Ó Ì ÙȘ Û˘Ó¤ÂȘ ·˘ÙÒÓ ÙˆÓ ÁÂÁÔÓfiÙˆÓ. ∏
Ù·ÈÓ›· Â›Ó·È ÙÚÂȘ ηÚÙ-ÔÛÙ¿Ï ·fi ̤ÚË Ô˘ Ë ∞ÌÂÚÈ΋ ı· ÚÔÙÈÌÔ‡Û ӷ ·ÁÓÔ›.
After unprecedented rainfall the desert of Death Valley burst into flower. Unseen in living
memory, the flowers drew tourists from around the world. "Greetings from the Death Valley"
tells three stories from this forgotten landscape. From last two residents in gold rush town.
From a village at the edge of a lake dried up to feed water to the distant city of Los Angeles.
From the proposed site of the dump for all of the USA’s nuclear waste. Told through the voices
of residents living with the consequences of these events, the film is three postcards from
places America would rather ignore.
118
ECOFILMS
ƒ√¢√™
2005
RODOS
Joanna Wright
ªÂÁ¿ÏˆÛ ÛÙË ¡fiÙÈ· √˘·Ï›· ÛÙÔ ∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ. ∆· ÙÂÏÂ˘Ù·›· ‰¤Î· ¯ÚfiÓÈ· ˙Ô‡Û ÛÙË ¡¤· √ÚÏ¿ÓË Î·È ÙË
¡¤· ÀfiÚÎË. ªÂٷ͇ ¿ÏÏˆÓ ¤¯ÂÈ ÂÚÁ·ÛÙ› ˆ˜ ÌÂÙ·ÏÏÔ˘ÚÁfi˜, ʈÙÔÁÚ¿ÊÔ˜ Î·È ˆ˜ ˯ÔÏ‹Ù˘ Û ٷÈӛ˜ ÌÂÁ¿ÏÔ˘
Ì‹ÎÔ˘˜.
She grew up in North Wales in the UK. She lived the last 10 years in New Orleans and New York. An eclectic
series of jobs during this time has included working as a metalworker, photographer and sound recordist on
feature films.
Joanna Wright
22 Doddington Grove
London, SE17 3TT
UK
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 Out of the Box
2005 Greetings from Death Valley
2005 Home
2004 Ozymandias
2003 Chasing Pigeons
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
National Film Theater London
∏ Joanna Wright
ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Joanna Wright about her film
∞˘Ùfi Ô˘ Ì ÂÓÙ˘ˆÛ›·Û fiÙ·Ó ‹ÌÔ˘Ó ÛÙÔ
¡Ù¤ı µ¿ÏÂ˚, ‹Ù·Ó ÙÔ Ï‹ıÔ˜ ÙÔ˘ÚÈÛÙÒÓ Ô˘
ÚÔÛ¤Ï΢ÛÂ Ë Î¿Ï˘„Ë ·fi Ù· ªª∂ Ù˘ ÚˆÙÔÊ·ÓÔ‡˜ ÂÌÊ¿ÓÈÛ˘ ÙˆÓ ·ÁÚÈÔÏÔ‡ÏÔ˘‰ˆÓ ÛÂ
¤Ó· ·fi Ù· ÈÔ ÍËÚ¿ ̤ÚË ÛÙÔÓ ÎfiÛÌÔ. ÃÈÏÈ¿‰Â˜ ¿ÓıÚˆÔÈ ‹Úı·Ó Ì ٷ ·˘ÙÔΛÓËÙ¿ ÙÔ˘˜, ¤‚Á·Ï·Ó ÌÈ· ʈÙÔÁÚ·Ê›·, Ì‹Î·Ó ÛÙ· ·˘ÙÔΛÓËÙ¿ ÙÔ˘˜ Î·È ¤Ê˘Á·Ó. ŒÎı·Ì‚ÔÈ ·fi ÙËÓ ÔÌÔÚÊÈ¿ Ù˘ ʇÛ˘, ÛÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· fï˜
¯ˆÚ›˜ Ó· ÎÔÈÙ¿˙Ô˘Ó ÙÔ ÙÔ›Ô Ô˘ ÙÔ˘˜ ÂÚȤÎÏÂÈÂ.
¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ÙÔ›Ô Î·È ÁÈ· ·ÓıÚÒÔ˘˜ ÙfiÛÔ ÂÎÌÂÙ·ÏÏÂ˘Ì¤ÓÔ˘˜ fiÛÔ Î·È ·ÁÓÔË̤ÓÔ˘˜.
£¤ÏËÛ· Ó· ‰Â›Íˆ οÔȘ ¿ÏϘ ÈÛÙÔڛ˜ Ô˘
Û˘Ì‚·›ÓÔ˘Ó ÂΛ, ÙËÓ Â·Ó·Ï·Ì‚·ÓfiÌÂÓË ÂÎÌÂÙ¿ÏÏ¢ÛË ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓÙÔ˜, Î·È ÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ô˘ ÂËÚ¿˙ÔÓÙ·È ·fi ·˘Ù‹. ∫·Ù’
·˘Ùfi ÙÔÓ ÙÚfiÔ Ë Ù·ÈÓ›· Â›Ó·È ¤Ó· ›‰Ô˜ ‰ÈÂÛÙÚ·Ì̤Ó˘ Ù·ÍȉȈÙÈ΋˜ ÂÚÈÁÚ·Ê‹˜, ÌÈ·
ηÚÙ-ÔÛÙ¿Ï ·fi Ê˘ÛÈΤ˜ ηٷÛÙÚÔʤ˜, ÛÙÔ
·ÚÂÏıfiÓ, ÛÙÔ ·ÚfiÓ Î·È ÙÔ Ì¤ÏÏÔÓ.
What struck me while I was in Death Valley
was the huge numbers of tourists, drawn by
the media coverage of an unprecedented
show of wildflowers in one of he driest places
on earth. Thousands of people came in their
cars, took a photograph and drove on.
Amazed by nature’s beauty, but not really
looking at the landscape they were in.
It is a landscape and a people both exploited
and ignored. I wanted to show some of the
other stories that were taking place here, the
repetition of environmental exploitation, and
the people affected by it. So in a way this film
is a kind of a perverse travelogue, postcards
from natural disasters, past, present and
future.
ECOFILMS
ƒ√¢√™
2005
RODOS
119
¶ƒ√™∆∞∆∂™ ∆∏™ ºÀ™∏™: ∫√§√ªµπ∞
SENTINELLES DE LA NATURE : LA COLOMBIE
GUARDIANS OF NATURE: COLOMBIA
°·ÏÏ›· France, 2005
¢È¿ÚÎÂÈ· Running time: 52’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Marc Rousseau
FILMS CONCEPT ASSOCIES
14 Rue Lesault
F 93500 Pantin
France
Tel: +33 148102770
Fax: +33 148102777
∂mail: [email protected]
™ÎËÓÔı¤Ù˘, ªÔÓÙ¿˙ Director, Script:
Nadine Kuhn
∫¿ÌÂÚ· Camera, Sound: Gorka Sistiaga
ªÔÓÙ¿˙ Edit: Angela Melo
∞Ê‹ÁËÛË Narration: Marylin Gres
∂È̤ÏÂÈ· ¶·Ú·ÁˆÁ‹˜
Executive Producer: Marc Rousseau
™˘ÓÙÔÓÈÛÌfi˜ ¶·Ú·ÁˆÁ‹˜
Production Coordinator: Valerie Chelle
™‡ÓÔ„ËSynopsis
∏ ÂÈÎÚ·ÙÔ‡Û· Ê‹ÌË ÁÈ· ÙËÓ ∫ÔÏÔÌ‚›· Û˘Ó‰¤ÂÙ·È Ì ÙË ‚›·, ÙÔ˘˜ ¤ÓÔÏÔ˘˜ ·ÁÒÓ˜ Î·È ÙÔ ÂÌfiÚÈÔ Ó·ÚΈÙÈÎÒÓ Ô˘ ˘¿Ú¯Ô˘Ó Û ·˘Ù‹ ÙË ¯ÒÚ·. ª· ÛÙËÓ ∫ÔÏÔÌ‚›· ÙÔ ÂÚÈ‚¿ÏÏÔÓ ‚Ú›ÛÎÂÙ·È ÛÂ
ΛӉ˘ÓÔ. ∏ ∫ÔÏÔÌ‚›· Â›Ó·È ÌÈ· ·fi ÙȘ ÏÔ˘ÛÈfiÙÂÚ˜ ¯ÒÚ˜ ÛÙÔÓ ÎfiÛÌÔ fiÛÔÓ ·ÊÔÚ¿ ÙË ‚ÈÔÔÈÎÈÏfiÙËÙ·. À¿Ú¯Ô˘Ó ÔÏ˘¿ÚÈıÌ· ÚÔÁÚ¿ÌÌ·Ù· Ô˘ ÛÙÔ¯Â‡Ô˘Ó ÛÙËÓ ÚÔÛÙ·Û›· ÙÔ˘ ÔÈÎÔÛ˘ÛÙ‹Ì·ÙÔ˜ Ù˘, Î·È ÔÈ ¿ÓıÚˆÔÈ Ô˘ Â›Ó·È ˘‡ı˘ÓÔÈ ÁÈ· ÙËÓ ÂÊ·ÚÌÔÁ‹ ÙÔ˘˜ ‰Ô˘ÏÂ‡Ô˘Ó Ì ¿ıÔ˜.
∞fi ÙË ªÂÁ¿ÏË ∫ÔÚ‰ÈÏȤڷ ̤¯ÚÈ ÙȘ ‰ȿ‰Â˜ ÙÔ˘ √ÚÈÓfiÎÔ Î·È ÙË ˙Ô‡ÁÎÏ· ÙÔ˘ ∞Ì·˙ÔÓ›Ô˘, ÔÈ ÂÚ¢ÓËÙ¤˜ Î·È ÔÈ ÂÈÛÙ‹ÌÔÓ˜ ηٷÁÚ¿ÊÔ˘Ó ÙÔ˘˜ Ê·ÓÙ·ÛÙÈÎÔ‡˜ ıËÛ·˘ÚÔ‡˜ Ù˘ ʇÛ˘, ÂÓÒ ÛÙȘ
ÙÔÈΤ˜ ÎÔÈӈӛ˜ ÔÈ ¿ÓıÚˆÔÈ ·›ÚÓÔ˘Ó Ì¤ÙÚ· ÁÈ· Ó· ÚÔÛٷهÛÔ˘Ó ÙË ÁË ÙÔ˘˜.
™ÙËÓ ÂÚÈÔ¯‹ §· ƒfi¯·, ÂÓ‹ÓÙ· ÔÈÎÔÁ¤ÓÂȘ ÌÈÎÚÔηÏÏÈÂÚÁËÙÒÓ ÌÂÙ¤ÙÚ„·Ó ¤Ó· ÎÔÌÌ¿ÙÈ Ù˘ Á˘
ÙÔ˘˜ Û ÚÔÛÙ·ÙÂ˘Ì¤ÓË Ê˘ÛÈ΋ ÂÚÈÔ¯‹. ™Ù· ‚¿ıË ÙÔ˘ ∞Ì·˙ÔÓ›Ô˘ ÔÈ πӉȿÓÔÈ Ticuna Â›Ó·È ˘‡ı˘ÓÔÈ Ó· ·Ú·ÙËÚÔ‡Ó ÙËÓ ·Ú¿ÓÔÌË ÌÂÙ·ÊÔÚ¿ ͇ÏÔ˘ ·fi ÙÔÓ ÂıÓÈÎfi ‰Ú˘Ìfi Ù˘ Amacayacu.
∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘ ÔÙ·ÌÔ‡ √ÚÈÓfiÎÔ ÂÈÛÙ‹ÌÔÓ˜ ·fi ÙÔ ÿ‰Ú˘Ì· Omacha Û˘ÓÂÚÁ¿˙ÔÓÙ·È ÛÙÂÓ¿ ÌÂ
ÙÔ˘˜ ÙÔÈÎÔ‡˜ ¯ˆÚÈÎÔ‡˜ ÁÈ· Ó· ‰È·ÙËÚ‹ÛÔ˘Ó ÙÔ ˘‰¿ÙÈÓÔ ÔÈÎÔÛ‡ÛÙËÌ·.
The prevailing reputation of Colombia is connected to the violence, the armed struggles and
the narco-traffics that exist in this country. Yet environment is at stake in Colombia. It’s one of
the richest countries in the world in terms of biodiversity. Programmes aimed to preserve
ecosystems are numerous there, and the people in charge of completing them work with
passion. From the Great Cordillera to the Orinoco plains and to the Amazonian jungle, the
Colombian researchers and scientists inventorize nature’s fantastic treasures, while in the local
communities, the people take measures to preserve their land.
In the area of La Cocha, 50 families of small-farmers have converted a part of their lands in
natural reserves. Deep in Amazonia, the Ticuna Indians are in charge of watching over the illegal
traffic of wood in the Amacayacu National Park. Along the Orinoco River, the scientists from the
Omacha Foundation work in close cooperation with the local villagers to preserve the aquatic
ecosystems.
120
ECOFILMS
ƒ√¢√™
2005
RODOS
Nadine Kuhn
∏ °·ÏÏ›‰· Nadine Kuhn ÍÂΛÓËÛ ÙËÓ Î·ÚȤڷ Ù˘ ˆ˜ ‰ËÌÔÛÈÔÁÚ¿ÊÔ˜ ÛÙÔ Ú·‰ÈfiʈÓÔ. ∆Ô 1990 ¿Ú¯ÈÛ ӷ
ÛÎËÓÔıÂÙ› Ù·Èӛ˜. ªÂ ÙÔÓ Marc Rousseau, ·Ú·ÁˆÁfi Ù˘ ÂÙ·ÈÚ›·˜ Films Concept Associés, Û˘ÓÂÚÁ¿˙ÂÙ·È ˆ˜
ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú Û˘Ó¯Ҙ ·fi ÙÔ 1995.
Nadine Kuhn (French) started her career as a radio journalist. She started to direct her own films in 1990. Her
collaboration with Marc Rousseau, Producer of Films Concept Associés, as a film director for documentaries,
has been continuous since 1995.
Nadine Kuhn
FILMS CONCEPT ASSOCIES
14 Rue Lesault
F 93500 Pantin
France
Tel: +33 148102770
Fax: +33 148102777
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Ushuaia TV, Guardians of nature:
Guadeloupe 52’, Columbia 52’,
Sweden 52’, French Guyana 52’, New
Caledonia 52’
2004 Odyssee: Business Women, 52’
2003 Voyage, Colours of Provence 52’
2002 Planete: documentary series
2000-2002 Cinefaz: Cinema of the world,
documentary series
2000 Feast on Earth, documentary series
1998-1999 Voyage, Series Gourmet
Travels
1998 Seasons, Gourmet Travels,
documentary series
1998 Planete-RTBF-TSR: Rock in Japan. 52’
1997 Seasons, Gourmet Travels
1996 La Cinquieme: The spirit of martial
arts in Japan 26’.
Japan Youth 26’
1995 La Cinquieme: The Renewal of French
Army 26 ‘.
New Forms of circus 26’
∏ Nadine Kuhn ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Nadine Kuhn about her film
∞˘Ù‹ Ë Ù·ÈÓ›· Â›Ó·È Ì¤ÚÔ˜ Ì›·˜ ÛÂÈÚ¿˜ Ù·ÈÓÈÒÓ
Ì ÙÔÓ Ù›ÙÏÔ «¶ÚÔÛٿ٘ Ù˘ º‡Û˘». ™ÎÔfi˜
·˘Ù‹˜ Ù˘ ÛÂÈÚ¿˜ Â›Ó·È Ó· ·ÚÔ˘ÛÈ¿ÛÂÈ ÚÔÁÚ¿ÌÌ·Ù· Î·È ÂÓ¤ÚÁÂȘ ÁÈ· ÙËÓ ÚÔÛÙ·Û›· Ù˘
ʇÛ˘ Û ‰È¿ÊÔÚ˜ ÂÚÈÔ¯¤˜ ÙÔ˘ ÎfiÛÌÔ˘.
This film is part of a collection of 40 films
entitled Guardians of Nature. The purpose of
the collection is to highlight programmes and
actions devoted to nature’s preservation in
different areas of the world.
ECOFILMS
ƒ√¢√™
2005
RODOS
121
∞™∫∏™∂π™ °π∞ ∆√ ™¶π∆π
COMPITO A CASA / HOMEWORK
πÙ·Ï›· Italy, 2005
¢È¿ÚÎÂÈ· Running time: 53’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Lucia Malorzo
Tel: +39 3497717209, +39 32194321
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: Ermin Hadzic
™ÂÓ¿ÚÈÔ Script: Lucia Malorzo
∫¿ÌÂÚ· Camera:
Jean Baptiste Delorme,
^
Lisbeth Kovacic’, Ermin Hadzic
ªÔÓÙ¿˙ Edit:
Ermin Hadzic, Igor Marijanovic
ªÔ˘ÛÈ΋ Music: Vuneny
◊¯Ô˜ Sound: Igor Marijanovic
∞Ê‹ÁËÛË Narration:
Alba Galbusera, Nila Botic
¶·Ú·ÁˆÁfi˜ Producer: Lucia Malorzo
122
™‡ÓÔ„ËSynopsis
¢‡Ô ÎÔÚ›ÙÛÈ· (12 ÂÙÒÓ) ·ÔÊ·Û›˙Ô˘Ó Ó· ÌÂÙ·ÙÚ¤„Ô˘Ó ÌÈ· ‚·ÚÂÙ‹ Û¯ÔÏÈ΋ ÂÚÁ·Û›· Û ÌÈ· Û˘Ó·Ú·ÛÙÈ΋ ÂÚÈ¤ÙÂÈ· ηٿ Ì‹ÎÔ˜ ÙÔ˘ ÔÙ·ÌÔ‡ ¡ÂÚ¤Ù‚·. ∏ ¡›Ï·, ÎfiÚË µÔÛÓ›ˆÓ ÚÔÛʇÁˆÓ
ÙÔ˘ ÙÂÏÂ˘Ù·›Ô˘ ÔϤÌÔ˘ ÛÙ· µ·ÏοÓÈ·, ÌÂÙ·ÊÚ¿˙ÂÈ ÛÙËÓ πÙ·Ï›‰· Ê›ÏË Ù˘ ÕÏÌ· Ù· ¿ÓÙ· Û¯ÂÙÈο
Ì ÙÔ Ò˜ Ó· ÌÈÏ¿˜ Û·Ó ÓÙfiÈ·. ∏ ¡›Ï· Î·È Ë ÕÏÌ· ÂÚ¢ÓÒÓÙ·˜ ÙÔÓ ÔÙ·Ìfi ¡ÂÚ¤Ù‚· ·fi ‰È·ÊÔÚÂÙÈΤ˜ Ï¢ڤ˜, ı· Ê·ÓÂÚÒÛÔ˘Ó Î·È ı· ÁÓˆÚ›ÛÔ˘Ó ÙÔÓ ÔÙ·Ìfi Ù˘ µÔÛÓ›·˜ ηχÙÂÚ· ·fi fiÙÈ
ÛÙÔ Û¯ÔÏ›Ô! ∂Ó Ì¤ÚÂÈ ÁÈ· ‰È·ÛΤ‰·ÛË Î·È ÂÓ Ì¤ÚÂÈ ÁÈ· ÙËÓ ÂÚÁ·Û›·... ÙÔ Ù·Í›‰È ÙÔ˘˜ Á›ÓÂÙ·È ÙfiÛÔ fiÌÔÚÊÔ Ô˘ ·Í›˙ÂÈ Ó· ηٷÁÚ·Ê›...
Two girls (12 years old) decide to transform a boring homework into a fascinating adventure
along the Neretva’s River. Nila, the daughter of a Bosnian fugitive couple through the last
Balkans War, translates to her italian friend Alba all about speaking like a true home master. Nila
and Alba, investigating Neretva from different point of views, will disclose and be aware of
much more from Bosnian river than at school! Part for fun and part for job... their travel
becomes so beautiful to be framed...
ECOFILMS
ƒ√¢√™
2005
RODOS
Ermin Hadzic
O Ermin Hadzic, ÁÂÓÓ‹ıËΠÙÔ 1977 ÛÙË ∑¤ÓÈη fï˜ ˙› ÛÙÔ ªfiÛÙ·Ú, ÙËÓ fiÏË Ô‡ ÛÔ‡‰·ÛÂ. ∏ Â·ÁÁÂÏÌ·ÙÈ΋
ÙÔ˘ ÂÎ·›‰Â˘ÛË ÚÔ¤Ú¯ÂÙ·È ·fi ¤Ó· ¯ˆÓÂ˘Ù‹ÚÈ ‰È·ÊfiÚˆÓ ÂÌÂÈÚÈÒÓ, fiˆ˜ Û˘Ó‹ıˆ˜ Û˘Ì‚·›ÓÂÈ Ì ÙÔ˘˜
µfiÛÓÈÔ˘˜. ∞ÔÊÔ›ÙËÛ ·fi ÙÔ ∂χıÂÚÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ÙÔ˘ µÂÚÔÏ›ÓÔ˘, ‰Ô‡Ï„ Û ·Ú·ÁˆÁ¤˜ ÁÈ· ÙË ÁÂÚÌ·ÓÈ΋
ÙËÏÂfiÚ·ÛË, Á‡ÚÈÛ ÙËÓ ÚÒÙË ÙÔ˘ Ù·ÈÓ›· ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ Î·È ÓÙÔÎÈÌ·ÓÙ¤Ú.
∂¤ÛÙÚ„ ÛÙËÓ ·ÙÚ›‰· ÙÔ˘, ·Ú·ÎÔÏÔ‡ıËÛ ÙË ‰ËÌÔÛÈÔÁÚ·ÊÈ΋ Û¯ÔÏ‹ ÛÙÔ ™·Ú¿ÁÂ‚Ô ÎÈ ¤ÂÈÙ· ¿Ú¯ÈÛ ӷ
οÓÂÈ ‰ËÌÔÛÈÔÁÚ·ÊÈο ÚÔÁÚ¿ÌÌ·Ù· ÁÈ· ÙËÓ ÙËÏÂfiÚ·ÛË, ÛÎËÓÔı¤ÙËÛ ‰È·ÊËÌÈÛÙÈο, ÌÔ˘ÛÈο Î·È ‚ÈÔÌ˯·ÓÈο
‚›ÓÙÂÔ. ¶ÚÔ˜ ÙÔ ·ÚfiÓ Û˘ÓÂÚÁ¿˙ÂÙ·È Ì ÙËÓ ∫ÈÓËÌ·ÙÔÁÚ·ÊÈ΋ §¤Û¯Ë ÙÔ˘ ªfiÛÙ·Ú Î·È ‰ÈÔÚÁ·ÓÒÓÂÈ ÙÔ ‰¤˘ÙÂÚÔ
ÊÂÛÙÈ‚¿Ï ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÁÈ· Ù·Èӛ˜ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜ ÙÔ˘ ªfiÛÙ·Ú Î·È ÙÔ Intercultural Film Festival ÙÔ˘
ªfiÛÙ·Ú.
Ermin Hadzic
Tel: +38761254456
Email: [email protected]
Born in 1977, in Zenica but lives in Mostar where he studied. His professional training springs out from a
melting pot of different experiences, as usually happens to Bosnians. He graduated to Free University of
Berlin, worked with some German TV stations and make his first short film and documentaries.
Came back to his country, he attended to journalist school of Sarajevo and then he started working with
making journalist TV program, director of commercial advertising, music and promotional video clip. At the
moment, he cooperates with Mostar’s Film Klub and he is arranging the second Mostar’s film festival of short
movies and Mostar’s Intercultural Film Festival.
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Compito a casa
2003 Sonnambulo
2002 Contrast
™˘ÌÌÂÙÔ¯‹ Û ºÂÛÙÈ‚¿Ï¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 Venezia Italian Doc Screenings
ECOFILMS
ƒ√¢√™
2005
RODOS
123
ºƒ∞°ª∞∆∞ ∞¶√ ∞ªª√ ™∆√ ∫π∆√Àπ
KITUI SAND DAMS
√ÏÏ·Ó‰›·
The Netherlands, 2006
¢È¿ÚÎÂÈ· Running time: 15’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Arena Films
PO-BOX 1157
4801 BD Breda
The Netherlands
Tel/ Fax: +31 76 5219324
Email: [email protected]
™ÎËÓÔı¤Ù˘, ™ÂÓ¿ÚÈÔ, ªÔÓÙ¿˙,
¶·Ú·ÁˆÁfi˜ Director, Script, Edit,
Producer: Eva Zwart,
Hans van Westerlaak
∫¿ÌÂÚ· Camera: Frank Lodder
◊¯Ô˜ Sound:Peter Smit Sibinga
°Ú·ÊÈο Graphic Design:
Edwin van Seben
∞Ê‹ÁËÛË Narration: Chris Bent
™‡ÓÔ„ËSynopsis
∏ ‰È·ıÂÛÈÌfiÙËÙ· Î·È Ë ÔÈfiÙËÙ· ÙÔ˘ ÓÂÚÔ‡ Â›Ó·È ˙ˆÙÈ΋˜ ÛËÌ·Û›·˜ ÁÈ· ÙË ÌÂÏÏÔÓÙÈ΋ ·Ó¿Ù˘ÍË. ∏
ÁˆÚÁ›· Ô˘ ÂÍ·ÚÙ¿Ù·È ·fi ÙË ‚ÚÔ¯‹, ·ÚÈÔ˜ ÔÈÎÔÓÔÌÈÎfi˜ fiÚÔ˜ Û ÔÏϤ˜ ·Ó·Ù˘ÛÛfiÌÂÓ˜ ¯ÒÚ˜, ·Ú·ÎˆÏ‡ÂÙ·È ·fi ÙËÓ ·ÎÚ·›· ÌÂÙ·‚ÏËÙfiÙËÙ· ÙˆÓ ‚ÚÔ¯ÔÙÒÛˆÓ. TÔ ÿ‰Ú˘Ì· Sahelian
Solutions ÛÙËÓ ∫¤Ó˘· ·Ó·Ù‡ÛÛÂÈ ÌÈÎÚ‹˜ Îϛ̷η˜ ÊÚ¿ÁÌ·Ù· ¿ÌÌÔ˘ ÛÙÔ˘˜ ÂԯȷÎÔ‡˜ ÔÙ·ÌÔ‡˜. ∆· ÊÚ¿ÁÌ·Ù· ÂÊԉȿ˙Ô˘Ó ÙÔÓ ÏËı˘ÛÌfi Ì fiÛÈÌÔ ÓÂÚfi Î·È ÓÂÚfi ÁÈ· ÙȘ ηÏÏȤÚÁÂȘ ηٿ
ÙË ‰È¿ÚÎÂÈ· ÙˆÓ ÍËÚ·ÛÈÒÓ, Î·È ¯Ù›˙ÔÓÙ·È ·fi ÙȘ ›‰È˜ ÙȘ ÙÔÈΤ˜ ÎÔÈÓfiÙËÙ˜. ∂ÈÛÙ‹ÌÔÓ˜ ÂȂ‚·ÈÒÓÔ˘Ó fiÙÈ ·˘Ù¿ Ù· ÊÚ¿ÁÌ·Ù· ·ÓÙÈÌÂÙˆ›˙Ô˘Ó Ì ÂÈÙ˘¯›· ÙË ÌÂÙ·‚ÏËÙfiÙËÙ· ÙÔ˘ Îϛ̷ÙÔ˜ Î·È ÙËÓ
ÎÏÈÌ·ÙÈ΋ ·ÏÏ·Á‹. ∆Ô ÚfiÁÚ·ÌÌ· ÊÚ·ÁÌ¿ÙˆÓ ¿ÌÌÔ˘ Ù˘ ÂÚÈÔ¯‹˜ ∫›ÙÔ˘È ‰Â›¯ÓÂÈ fiÙÈ Ì ÙËÓ ÈÛ¯˘Ú‹ Û˘ÌÌÂÙÔ¯‹ ÙˆÓ ÎÔÈÓÔًوÓ, Ë ÚÔÛ·ÚÌÔÁ‹ ÛÙȘ ÎÏÈÌ·ÙÈΤ˜ ·ÏÏ·Á¤˜ ÌÔÚ› Ó· ¤¯ÂÈ ÂÈÙ˘¯›·.
Water availability and water quality are of vital importance for future development. Rainfed
agriculture, the main economic sector in many developing countries, is hampered by extreme
variability in rainfall. The Sahelian Solutions Foundation in Kenya develops small-scale sand
dams in seasonal rivers. The dams provide the population with drinking water and water for
agriculture in dry seasons. These dams are built by local communities. Scientists confirm that
these dams are successful in coping with climate variability and climate change. The sand dam
project in the Kitui district shows that, with strong community participation, adaptation to
climate change can be successful.
124
ECOFILMS
ƒ√¢√™
2005
RODOS
Eva Zwart
ªÂÙ¿ ÙȘ ÛÔ˘‰¤˜ Ù˘ ÛÙȘ ÔÙÈÎÔ·ÎÔ˘ÛÙÈΤ˜ ·Ú·ÁˆÁ¤˜ ÛÙÔ Hogeschool Limburg ÙÔ 1996, Ë Eva Zwart
ÂÚÁ¿˙ÂÙ·È ˆ˜ ÌÔÓÙ¤Ú ‚›ÓÙÂÔ ÁÈ· ÙË ÂÙ·ÈÚ›· Cinevideogroup. ∞fi ÙÔ 2005 Û˘ÓÂÚÁ¿˙ÂÙ·È Ì ÙËÓ Arena Films ˆ˜
ÛÎËÓÔı¤Ù˘ Î·È ·Ú·ÁˆÁfi˜. ∞˘Ù‹ Â›Ó·È Ë ‰Â‡ÙÂÚË Ù·ÈÓ›· Ù˘.
After graduating in Audio-Visual Production at the Hogeschool Limburg in 1996 Eva Zwart has been working
as a video-editor for Cinevideogroup. In 2005 she joined Arena Films as director and producer. The film "Kitui
Sand Dams" is her second film.
Hans van Westerlaak
Eva Zwart and
Hans van Westerlaak
PO-BOX 1157
4801 BD Breda
The Netherlands
Tel/ Fax: +31 76 5219324
Email: [email protected]
∞ÊÔ‡ ÂÚÁ¿ÛÙËΠˆ˜ ηıËÁËÙ‹˜ ı¿ÙÚÔ˘ Î·È ÊˆÙÔÁÚ¿ÊÔ˜, ÙÔ 1978 Û˘ÓÂÚÁ¿ÛÙËΠ̠ÙËÓ ÂÙ·ÈÚ›· De Kritiese
Filmers ˆ˜ ÛÎËÓÔı¤Ù˘ Î·È ·Ú·ÁˆÁfi˜ Ù·ÈÓÈÒÓ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜. Œ¯ÂÈ ˘¿ÚÍÂÈ ÛÎËÓÔı¤Ù˘ Î·È ·Ú·ÁˆÁfi˜ ÛÂ
¿Óˆ ·fi 30 Ù·Èӛ˜ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜.
After working as a drama teacher and photographer joined the De Kritiese Filmers in 1978 as a director and
producer of short films. He has directed and/or produced about 30 short films.
ºÈÏÌÔÁÚ·Ê›· Filmography
Hans van Westerlaak
2006 Kitiu Sand Dams
1998 Meerichtingsverkeer
1990 Uitvoering Kloosterlaan
1985 Valiezen Vol Verwijten
1984 Dossier Kloosterlaan
Nummers
1983 Kloosterland Breda
1981 Zonder Bagage
OÈ Eva Zwart
Î·È Hans van Westerlaak
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘˜
Eva Zwart
and Hans van Westerlaak
about their film
∫·Ù¿ ÙË ‰È¿ÚÎÂÈ· Ù˘ ¤Ú¢ӷ˜ ÁÈ· ÌÈ· Ù·ÈÓ›·
Û¯ÂÙÈο Ì ٷ ·ÔÙÂϤÛÌ·Ù· Ù˘ ·ÁÎfiÛÌÈ·˜
·ÏÏ·Á‹˜ ÙÔ˘ Îϛ̷ÙÔ˜ ‹Ïı·Ì Û Â·Ê‹ Ì ÙÔ
ÿ‰Ú˘Ì· Sahelian Solutions ÛÙËÓ ∫¤Ó˘·
(SASOL). ∆Ô ∫›ÙÔ˘È Â›Ó·È ÌÈ· ·fi ÙȘ ÏÈÁfiÙÂÚÔ ·Ó·Ù˘Á̤Ó˜ ÂÚÈÔ¯¤˜ Ù˘ ∫¤Ó˘·˜. √ ÏËı˘ÛÌfi˜ ÙÔ˘ Ú¤ÂÈ Î¿ı ¯ÚfiÓÔ Ó· ·ÓÙÈÌÂÙˆ›˙ÂÈ
ÙȘ ÍËڷۛ˜ Î·È ÙËÓ ¤ÏÏÂÈ„Ë ÙÚÔʛ̈Ó. ™ÎÔfi˜
Ù˘ SASOL Â›Ó·È Ó· ‚ÔËı¿ ÙÔ˘˜ ·ÁÚfiÙ˜ Ó· ÌÂÙÚÈ¿˙Ô˘Ó ÙËÓ Â›‰Ú·ÛË ÙˆÓ ÍËÚ·ÛÈÒÓ. ∏ ÊÈÏÔÛÔÊ›· Ù˘ SASOL Â›Ó·È Ó· Û˘ÓÂÚÁ¿˙ÂÙ·È Ì ÙȘ
ÙÔÈΤ˜ ÎÔÈÓfiÙËÙ˜ Î·È Ó· ¯ÚËÛÈÌÔÔÈ› ÙȘ ÁÓÒÛÂȘ ÙÔ˘˜ Ì ÛÎÔfi ÙËÓ Î·ÈÓÔÙÔÌ›· Î·È ÙËÓ ·Ó¿Ù˘ÍË. ∞˘Ù‹ Ë Û˘ÌÌÂÙÔ¯È΋ ÚÔÛ¤ÁÁÈÛË ÌÔÚ› Ó· ‚ÔËı‹ÛÂÈ Î·È ¿ÏϘ ¢¿ÏˆÙ˜ ÎÔÈÓfiÙËÙ˜
Ó· ·ÓÙÈÌÂÙˆ›ÛÔ˘Ó ÙȘ ÂȉڿÛÂȘ Ù˘ ·ÏÏ·Á‹˜
ÙÔ˘ Îϛ̷ÙÔ˜, Î·È ÌÔÚ› ·ÎfiÌË Ó· ·Ú¤¯ÂÈ ·‡ÍËÛË Ù˘ ÙÔÈ΋˜ ÔÈÎÔÓÔÌÈ΋˜ ·Ó¿Ù˘Í˘.
During the period we have been researching
for a film on the effects of global climate
change we did get in touch with the Sahelian
Solutions Foundation Kenya (SASOL). Kitui is
one of Kenya’s least developed districts. Its
population has to deal with droughts and
food shortages every year. SASOL aims at
helping farmers to mitigate the effects of
droughts. SASOL’s philosophy is to work with
local communities and use their knowledge
for innovation and development.
This participatory approach can also help
other vulnerable communities to cope with
the impacts of climate change, and can even
provide an increase to regional economic
growth.
ECOFILMS
ƒ√¢√™
2005
RODOS
125
ª∞Àƒ∏ ∑ø∏
ZHIZN PO CHERNOMU / LIFE IN BLACK
ƒˆÛ›· Russia, 2005
¢È¿ÚÎÂÈ· Running time: 20’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Krasnoyarsk film studio
Lenina st. 150
Rhsnoyarsk, 660021
Russia
Tel:+3932 218306
Fax: +3932 218306
Email: [email protected]
™ÎËÓÔı¤Ù˘, ∫¿ÌÂÚ· Director, Camera:
Svyatoslav Chaplinsky
ªÔÓÙ¿˙ Edit: Evelina Pazych
ŒÚ¢ӷ Research: Vladimir Vasiliev
™ÂÓ¿ÚÈÔ Script: Vladimir Vasiliev
◊¯Ô˜ Sound: Alexander Kalashnikov
∂ÎÙ¤ÏÂÛË ·Ú·ÁˆÁ‹˜
Executive producer:
Alexander Kalashnikov
™‡ÓÔ„ËSynopsis
ƒˆÛ›·. ™È‚ËÚ›·. µfiÚÂÈ· ÁˆÁÚ·ÊÈο Ï¿ÙË Í¯·Ṳ̂ӷ ·fi ÙÔ ÎÚ¿ÙÔ˜. ∂‰Ò Î·È Ôχ ηÈÚfi fiϘ ÔÈ
ÂȯÂÈÚ‹ÛÂȘ ¤¯Ô˘Ó ÎÏ›ÛÂÈ Û ·˘Ù‹Ó ÙËÓ ÂÚÈÔ¯‹ Î·È Ë ÎÏÔ‹ Â›Ó·È Ô ÌfiÓÔ˜ ÙÚfiÔ˜ Ó· ÂÈ˙‹ÛÂÈ
ηÓ›˜. ¶ÔχÙÈÌ· ›‰Ë „·ÚÈÒÓ ÏÈÁÔÛÙÂ‡Ô˘Ó Û˘Ó¤¯ÂÈ· (Ô Ô͇ÚÚ˘Á¯Ô˜ Î·È ¿ÏÏ·). ∏ ··ÁfiÚ¢ÛË
ÛÙËÓ ·ÏÈ›· ·˘Í¿ÓÂÈ ÙËÓ ·Í›· ÙˆÓ „·ÚÈÒÓ ÛÙË Ì·‡ÚË ·ÁÔÚ¿. √ÚÈṲ̂ÓÔÈ ·Á·ıÔ› Â·Ú¯ÈÒÙ˜ ÈÛÙÂ‡Ô˘Ó Ú·ÁÌ·ÙÈο ˆ˜ Ë Î·Ù·ÛÙÚÂÙÈ΋ Ï·ıÚÔıËÚ›· ÙÔ˘˜, Û‡ÓÙÔÌ· ı· ‰ÒÛÂÈ Ù¤ÏÔ˜ ÛÙË «Ì·‡ÚË ˙ˆ‹». ∆· ·Ó·Áη›· ÁÈ· ÂÈ‚›ˆÛË ı· Ù· ÚÔÛʤÚÂÈ ÙÔ Ì·‡ÚÔ ¯·‚È¿ÚÈ… ∫·È ÌfiÓÔ ÙÔ „¿ÚÈ ¯¿ÓÂÙ·È ÌÂÁ·ÏÔÚÂÒ˜, ·‰ÈηÈÔÏfiÁËÙ·, ÛÙË ÛȈ‹.
Russia. Siberia. Forgotten by the state northern latitudes. For a long time all enterprises have
been closed in this region and robbery is the only way to survive. Valuable species of fishes are
getting less and less (the sturgeon and others). The prohibition on fishing raises the price for
fish in the black market. Nice rural guys sincerely trust, that their malicious poaching, "a black
life" will soon finish. Necessity to survive will be provided with black caviar.... And only the fish
perishes nobly, not being justified, in silence.
126
ECOFILMS
ƒ√¢√™
2005
RODOS
Svyatoslav Chaplinsky
™Ô‡‰·Û οÌÂÚ· ÛÙÔ VGIK, ÛÙÔ ÂÚÁ·ÛÙ‹ÚÈÔ ÙˆÓ V.I.Jusova Î·È A.S.Temerina ÙÔ 1983. ŒÎ·Ó ÙÔ ÓÙÂÌÔ‡ÙÔ ÙÔ˘
ˆ˜ ‰È¢ı˘ÓÙ‹˜ ʈÙÔÁÚ·Ê›·˜ ÛÙÔ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎfi ÛÙÔ‡ÓÙÈÔ Ù˘ Belarusfilm. ∞fi ÙÔ 1986 ÂÚÁ·˙fiÙ·Ó ÛÙÔ
ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎfi ÛÙÔ‡ÓÙÈÔ Krasnoyarsk ˆ˜ ÛÎËÓÔı¤Ù˘ Î·È Î¿ÌÂÚ·Ì·Ó. ∆· ¤ÚÁ· ÙÔ˘ ˆ˜ οÌÂÚ·Ì·Ó ¤¯Ô˘Ó
‚Ú·‚¢ı› ·fi ÚˆÛÈο Î·È ‰ÈÂıÓ‹ ÊÂÛÙÈ‚¿Ï. ø˜ ÛÎËÓÔı¤Ù˘ Î·È Î¿ÌÂÚ·Ì·Ó ¤¯ÂÈ Á˘Ú›ÛÂÈ ‰‡Ô Ù·Èӛ˜. ∏ Ù·ÈÓ›·
«ª·‡ÚË ˙ˆ‹» Â›Ó·È ÙÔ ‰Â‡ÙÂÚÔ ÛÎËÓÔıÂÙÈÎfi ÙÔ˘ ¤ÚÁÔ.
Graduated from the camera faculty of VGIK, the workshop of V.I.Jusova and A.S.Temerina in 1983. Debuted
as the director of cinematography at the film studio Belarusfilm. Since 1986 he worked at Krasnoyarsk film
studio as director-operator. His camera works have been marked by prizes at Russian and international film
festivals. As director-operator he has shot two films. The film "Life in black " is his second director's work.
Svyatoslav Chaplinsky
Krasnoyarsk film studio
Lenina st. 150
Rhsnoyarsk, 660021
Russia
Tel: +3932 218306
Fax: +3932 218306
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Life in Black
The Art to survive October
ECOFILMS
ƒ√¢√™
2005
RODOS
127
§π∆∞¡π, ∂¡∞™ ¶√∆∞ª√™ ∆√À §πµ∞¡√À
THE LITANI, A LEBANESE RIVER
§›‚·ÓÔ˜ Lebanon, 2006
¢È¿ÚÎÂÈ· Running time: 25’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Association of the friends
of Ibrahim BD EL AL
NGO LEBANON
P.O.BOX 11
4981 Beirut
Lebanon
Tel: +961 1655898
Fax: + 961 1644800
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: Carol Mansour
∫¿ÌÂÚ· Camera: Hassan Skeini, Carol
Mansour
ªÔÓÙ¿˙ Edit: Carol Mansour
°Ú·ÊÈο Graphics: Joumana Medlej
∞Ê‹ÁËÛË Narration: Rasha Zantout
ŒÚ¢ӷ Research: Carol Mansour,
Bassamat Abd El Al
™ÂÓ¿ÚÈÔ Script: Bassamat Abd El Al
™‡ÓÔ„ËSynopsis
√ ÔÙ·Ìfi˜ §›Ù·ÓÈ ‚Ú›ÛÎÂÙ·È ÛÙËÓ ÎÔÈÏ¿‰· ªÂη¿ ÙÔ˘ §È‚¿ÓÔ˘. √ ˘‰ÚÔÎÚ›Ù˘ ÙÔ˘ ÂÂÎÙ›ÓÂÙ·È
ÌÂٷ͇ ÙˆÓ ·Ó·ÙÔÏÈÎÒÓ Î·È ‰˘ÙÈÎÒÓ ÔÚÔÛÂÈÚÒÓ ÙÔ˘ §È‚¿ÓÔ˘ ÂÍ ÔÏÔÎÏ‹ÚÔ˘ ̤۷ ÛÙÔ ¤‰·ÊÔ˜ ·˘Ù‹˜ Ù˘ ¯ÒÚ·˜.
∞˘Ùfi˜ Ô ÔÙ·Ìfi˜ Â›Ó·È Ô Î‡ÚÈÔ˜ ˘‰¿ÙÈÓÔ˜ fiÚÔ˜ Ù˘ ¯ÒÚ·˜ Ì ÌÂÁ¿Ï˜ ‰˘Ó·ÙfiÙËÙ˜ ·Ú·ÁˆÁ‹˜ ÂÓ¤ÚÁÂÈ·˜, ¿Ú‰Â˘Û˘ Î·È fiÛÈÌÔ˘ ÓÂÚÔ‡. ∞˘Ù¤˜ ÔÈ ‰˘Ó·ÙfiÙËÙ˜ ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÌÈ· ÔÏÔÎÏËڈ̤ÓË ‰È·¯Â›ÚÈÛË ÙˆÓ ˘‰¿ÙÈÓˆÓ fiÚˆÓ ı· ÌÔÚÔ‡Û·Ó Ó· ÂÓÈÛ¯‡ÛÔ˘Ó ÙËÓ ÔÈÎÔÓÔÌ›· ·›˙ÔÓÙ·˜ ¤Ó· ‚·ÛÈÎfi ÚfiÏÔ ÛÙËÓ ÎÔÈÓˆÓÈ΋ Î·È ÔÈÎÔÓÔÌÈ΋ ·Ó¿Ù˘ÍË Ù˘ ¯ÒÚ·˜. ∞˘Ùfi ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú ÂÚÈÁÚ¿ÊÂÈ ÙÔÓ ÔÙ·Ìfi §›Ù·ÓÈ, Ù· ÚÔÁÚ¿ÌÌ·Ù· Ô˘ ¤¯Ô˘Ó ÔÏÔÎÏËÚˆı› ̤¯ÚÈ Û‹ÌÂÚ· Î·È ‰›ÓÂÈ ¤ÌÊ·ÛË ÛÙ· ÌÂÏÏÔÓÙÈο ÚÔÁÚ¿ÌÌ·Ù· Ô˘ ÚfiÎÂÈÙ·È Ó· ÙÂıÔ‡Ó Û ÂÊ·ÚÌÔÁ‹.
The Litani River is located in the Beqaa Valley of Lebanon. Its watershed extends between the
eastern and western mountainous chains of Lebanon entirely in this country’s territory. This
River is the major water resource in this country with high potential outputs for power
generation, irrigation and potable water. These outputs combined with an integrated water
resources management would enhance the economic sectors with a key role in the social and
financial development of the country. This documentary describes the Litani, the projects
achieved until today and it highlights the future projects yet to be implemented.
128
ECOFILMS
ƒ√¢√™
2005
RODOS
Carol Mansour
™Ô‡‰·Û „˘¯ÔÏÔÁ›· ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ Concordia Î·È ÚÔÁÚ·ÌÌ·ÙÈÛÌfi ÎÔÌÈÔ‡ÙÂÚ ÛÙÔ Control Data Institute
ÙÔ˘ ªfiÓÙÚÂ·Ï ÛÙÔÓ ∫·Ó·‰¿. ∂›Ó·È Û˘ÓȉڇÙÚÈ· Î·È ‰È¢ı‡ÓÙÚÈ· Ù˘ ÂÙ·ÈÚ›·˜ Forward Productions, ÂÓfi˜
ÛÙÔ‡ÓÙÈÔ ·Ú·ÁˆÁ‹˜ ‹¯Ô˘ Î·È ‚›ÓÙÂÔ, Î·È ‰ËÌÈÔ‡ÚÁËÛ ÙË ‰ÈÛÎÔÁÚ·ÊÈ΋ ÂÙ·ÈÚ›· "world music from Lebanon".
∞Û¯ÔÏÂ›Ù·È Ì ÙË ÛÎËÓÔıÂÛ›·, ÙËÓ ·Ú·ÁˆÁ‹ Ù·ÈÓÈÒÓ, ÙÔ ÌÔÓÙ¿˙, ·ÏÏ¿ Â›Ó·È Î·È ·Ú·ÁˆÁfi˜ Î·È ·ÚÔ˘ÛÈ¿ÛÙÚÈ·
„˘¯·ÁˆÁÈÎÒÓ ÙËÏÂÔÙÈÎÒÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ.
She studied psychology at the Concordia University and computer programming at the Control Data Institute
in Montreal, Canada. She is co-founder and manager of the Forward Productions, an Audio and Video
Production Studio, and she created the music label "world music from Lebanon". She directs, produces, films
and edits films but she also produces and hosts TV entertainment programs.
Carol Mansour
P.O.BOX 13
6432 Chourane Beirut
Lebanon
Tel: +961 1 803436, +961 3420432
Fax: +961 1803436
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 Litani, A Lebanese River
2005 Maid in Lebanon
Invisible children
2001 100% Asphalte
∏ Carol Mansour
ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Carol Mansour
about her film
∆· Û‡Á¯ÚÔÓ· ̤۷ Ì·˙È΋˜ ÂÓË̤ڈÛ˘, ÂȉÈο Ù· ÔÙÈÎÔ·ÎÔ˘ÛÙÈο, Â›Ó·È È‰È·›ÙÂÚ· ·ÔÙÂÏÂÛÌ·ÙÈο ÛÙÔ Ó· ÌÂٷʤÚÔ˘Ó ÌËӇ̷ٷ ÛÙÔ
Ï·Ù‡ ÎÔÈÓfi. ∆Ô ÓÙÔÎÈÌ·ÓÙ¤Ú ·ÚÔ˘ÛÈ¿˙ÂÈ ÌÈ·
ÁÂÓÈ΋ ÂÈÎfiÓ· ÙˆÓ ¯·Ú·ÎÙËÚÈÛÙÈÎÒÓ ·˘ÙÔ‡ ÙÔ˘
ÔÙ·ÌÔ‡, Ù˘ ÛËÌ·Û›·˜ ÙÔ˘ ˆ˜ ·ÚÈÔ Ê˘ÛÈÎfi
fiÚÔ ÁÈ· ÙÔ §›‚·ÓÔ, fiˆ˜ Â›Û˘ Ù· ˘‰ÚÔËÏÂÎÙÚÈο Î·È ·Ú‰Â˘ÙÈο ÚÔÁÚ¿ÌÌ·Ù· Ô˘ ¤¯Ô˘Ó
‹‰Ë Ú·ÁÌ·ÙÔÔÈËı› Î·È ·˘Ù¿ Ô˘ ÚfiÎÂÈÙ·È
Ó· Á›ÓÔ˘Ó Û ·˘ÙfiÓ ÙÔÓ ÔÙ·Ìfi. ∏ Ù·ÈÓ›· ÙÔÓ›˙ÂÈ ÙË ÛËÌ·Û›· ÙÔ˘ ÔÙ·ÌÔ‡ ˆ˜ ·ÚÈÔ fiÚÔ
ÁÈ· ÙÔ §›‚·ÓÔ. £· ·ÚÔ˘ÛÈ·ÛÙ› ÛÙ· Û¯ÔÏ›·
ˆ˜ ̤ÚÔ˜ ÌÈ·˜ ÂÎÛÙÚ·Ù›·˜ ·Ê‡ÓÈÛ˘ ÙˆÓ ÔÏÈÙÒÓ.
Modern media, especially the audiovisual, are
extremely effective in getting messages
across to a wide audience. The documentary
presents a general overview of the
characteristics of this river, its importance as a
main resource in Lebanon, and the hydroelectrical and irrigation projects achieved and
yet to be achieved on this river. The film
stresses the importance of this river as a main
resource for Lebanon. The film will be shown
in schools as part of the awareness campaign.
ECOFILMS
ƒ√¢√™
2005
RODOS
129
∏ ºπ§∏ ª√À ∏ ∫∞ƒ¢∂ƒπ¡∞
MY FRIEND THE GOLDFINCH
™ÂÚ‚›·-ª·˘ÚÔ‚Ô‡ÓÈÔ
Serbia-Montenegro, 2004
¢È¿ÚÎÂÈ· Running time: 21’ 30’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
MSc Oliver Fojkar
Institute
^ for Nature Conservation of Serbia
Radnicka 20a, 21000 Novi Sad
Serbia and Montenegro
Tel: +381 21 421 144, +381 63 381 510
Fax: +381 21 616 252
Email: [email protected],
[email protected]
™ÎËÓÔı¤Ù˘ Director:
^
^
’^
Oliver Fojkar, Dusan Cekic
^
∫¿ÌÂÚ· Camera: Dusan Cekic’
™ÂÓ¿ÚÈÔ Script: MSc Oliver Fojkar
ªÔ˘ÛÈ΋ Music:
Miroslav Jovancic, ETHNOKOR
ªÔÓÙ¿˙ Edit: Igor Prusina
∏ıÔÔÈfi˜ Cast: Aleksa Puzovic’
¶·Ú·ÁˆÁ‹ Production:
Bird Protection
and Study Society of Vojvodina
™‡ÓÔ„ËSynopsis
∏ Ù·ÈÓ›· Ú·ÁÌ·Ù‡ÂÙ·È ÙËÓ ˘¤ÚÔ¯Ë ˙ˆ‹ ÙˆÓ Ô˘ÏÈÒÓ Î·È ÙËÓ ·Ó¤ÌÔÚÊË Ê‡ÛË Ù˘ µÔ˚‚ÔÓÙ›Ó·, ÙËÓ
·Á¿Ë ÂÓfi˜ ·ÁÔÚÈÔ‡ ÁÈ· Ù· Ô˘ÏÈ¿, Î·È ÙË ÌÔ›Ú· ÙˆÓ Ô˘ÏÈÒÓ ÛÙËÓ ∂˘ÚÒË ÛÙËÓ ·˘Á‹ Ù˘ ÙÚ›Ù˘ ¯ÈÏÈÂÙ›·˜. ∏ Ù·ÈÓ›· ‚·Û›˙ÂÙ·È ÛÙÔ ÛοӉ·ÏÔ Ï·ıÚÂÌÔÚ›Ô˘ Ô˘ÏÈÒÓ, ÁÓˆÛÙfi ˆ˜ «Ë ˘fiıÂÛË ÙˆÓ Ô˘ÏÈÒÓ ·fi Ù· µ·ÏοÓÈ·». ™ÙȘ ·Ú¯¤˜ ÙÔ˘ 2001 ÙÔ Ï·ıÚÂÌfiÚÈÔ ÙˆÓ ÚÔÛٷ٢fiÌÂÓˆÓ ÙËÓÒÓ ÛÙËÓ πÙ·Ï›· ·fi ÙË µ·ÏηÓÈ΋ ¯ÂÚÛfiÓËÛÔ Î·È ÙÔÓ Î¿ÌÔ Ù˘ ¶·ÓfiÓÈ· ¤ÁÈÓ ·ÓÙÈÏËÙfi ·fi ÙȘ ÙÂψÓÂȷΤ˜ ·Ú¯¤˜ Ù˘ πÙ·Ï›·˜. ™Ù· ÈÙ·ÏÈο Û‡ÓÔÚ·, Û ¤Ó· ÌfiÓÔ ÊÔÚÙËÁfi, ÔÈ πÙ·ÏÔ› ÙÂψÓÂÈ·ÎÔ› ‚Ú‹Î·Ó 120.700 ηÙ„˘Á̤ӷ Ô˘ÏÈ¿. ∆· ÂÚÈÛÛfiÙÂÚ· ·fi ·˘Ù¿ ‹Ù·Ó ÌÈÎÚ¿ ˆ‰Èο ÙËÓ¿ Î·È Û¿ÓÈ· ›‰Ë, Ù· ÔÔ›· ÚÔÛٷهÔÓÙ·È ‰È· ÓfiÌÔ˘. ŸÏ· ·˘Ù¿ Ù· ÛÎÔو̤ӷ ÙËÓ¿ ÚÔÔÚ›˙ÔÓÙ·Ó ÁÈ· Ù· ÈÙ·ÏÈο ÂÛÙÈ·ÙfiÚÈ· ÔÏ˘ÙÂÏ›·˜ fiÔ˘ Î·È ÚÔÛʤÚÔÓÙ·È ·Ú¿ÓÔÌ· Û ˘„ËϤ˜ ÙÈ̤˜. ™ÙË ™ÂÚ‚›· 275 ›‰Ë ÙËÓÒÓ ¤¯Ô˘Ó ¯·Ú·ÎÙËÚÈÛÙ› ˆ˜ Û¿ÓÈ· Î·È ÚÔÛٷهÔÓÙ·È ·fi ÙÔ Î˘Ó‹ÁÈ, ÙËÓ ÂÓfi¯ÏËÛË ‹ ÙËÓ Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘ ‚ÈfiÙÔÔ‡ ÙÔ˘˜. ø˜ ÙÒÚ· ηÓ›˜ ‰ÂÓ ¤¯ÂÈ Î·ÙËÁÔÚËı› ÁÈ· Ï·ıÚÂÌfiÚÈÔ ÚÔÛٷ٢fiÌÂÓˆÓ ÙËÓÒÓ, ÙÔ ÔÔ›Ô
Û˘Ó¯›˙ÂÙ·È. ∏ Ù·ÈÓ›· Á˘Ú›ÛÙËΠÛÙËÓ ¶ËÁ‹ ÙÔ˘ ∞ÛË̤ÓÈÔ˘ º‡ÏÏÔ˘ ÎÔÓÙ¿ ÛÙÔ ¯ˆÚÈfi ª¿Ï ¶ÈÁÈ¿ÙÛÂ
Î·È ÛÙÔ˘˜ ˘ÁÚÔ‚ÈfiÙÔÔ˘˜ §Ô‡ÓÙÔ˜, ™Ï¿ÓÔ ∫fiÔ‚Ô Î·È ™Ù¿ÚÈ ª¤ÁÎÂ˚-∫¿ÚÛη ª¿Ú·.
The film is a story about the wonderful bird life and beautiful nature of Vojvodina, about the
love of a boy for birds, and about the fate of the birds of Europe at the beginning of the third
millennium. This film is based on the bird smuggling scandal known as "Birds from the Balkans"
affair. At the end of 2001 the smuggling of hunted protected birds into Italy from the Balkan
peninsula and some parts of the Pannonian plain had come to the notice of Italian customs
authorities. On the Italian border, in just one truck, Italian customs found 120,700 frozen birds.
The most numerous among them were small song birds and rare species protected by law. All
those killed bird were intended to be for the Italian luxury restaurant trade where they are
illegally offered at high prices. In Serbia 275 species of birds are registered as natural rarities,
and they are protected from hunting, disturbance or destruction of their habitat. So far, no one
has yet been charged with offences relating to the smuggling of protected birds, which still
continues. The film was made at the^ Salash of the Silver leaf near the village Male Pijace and in
Special Nature Reserves: "Lake Ludos", "Slano Kopovo" and "Stari Begej - Carska bara".
130
ECOFILMS
ƒ√¢√™
2005
RODOS
Oliver Fojkar
Oliver Fojkar MSc
Bul. D. Stefana 2 st 25.
21000 Novi Sad
Tel: + 381 21 6 369-699, + 38163 381 510
∂mail: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2004 My friend the goldfinch
2002 Prayer for the mountain
2000-2001 Nature as Life
1997 Winter flight
1996 Fruska gora Fungi
1995 In the shadow of civilization
°ÂÓÓ‹ıËΠÙÔ 1969. ™Ô‡‰·Û ‚ÈÔÏÔÁ›· Î·È ÁˆÔÓ›· ÛÙÔ ·ÓÂÈÛÙ‹ÌÈÔ ÙÔ˘ ¡fi‚ÈÛ·ÓÙ. °‡ÚÈÛ ÔÏÏ¿
ÂÈÛÙËÌÔÓÈο Î·È Â˘Ú¤·˜ ·Ô‰Ô¯‹˜ ÓÙÔÎÈÌ·ÓÙ¤Ú ÔÈÎÔÏÔÁÈÎÔ‡ Î·È ‚ÈÔÏÔÁÈÎÔ‡ ÂÚȯÔ̤ÓÔ˘ ÁÈ· ÙË Novi Sad TV.
∂›Ó·È Â›Û˘ ÛÂÓ·ÚÈÔÁÚ¿ÊÔ˜ Î·È ÌÔÓÙ¤Ú Û ÔÏÏ¿ ÚÔÁÚ¿ÌÌ·Ù· ÔÈÎÔÏÔÁÈÎÔ‡ ÂӉȷʤÚÔÓÙÔ˜ Ù˘ Novi Sad TV.
∂›Ó·È ̤ÏÔ˜ ÙÔ˘ Û˘ÏÏfiÁÔ˘ ÂÚÁ·˙ÔÌ¤ÓˆÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È ÙËÏÂfiÚ·Û˘ Ù˘ Â·Ú¯›·˜ Ù˘ µÔ˚‚ÔÓÙ›Ó·, Ù˘
ŒÓˆÛ˘ ªÈÎÚÔ‚ÈÔÏfiÁˆÓ Ù˘ ™ÂÚ‚›·˜, Ù˘ √ÌÔÛÔÓ‰›·˜ ∂˘Úˆ·˚ÎÒÓ ™˘ÏÏfiÁˆÓ ªÈÎÚÔ‚ÈÔÏfiÁˆÓ, UNIPAX.
∂›Ó·È Ô È‰Ú˘Ù‹˜ Î·È Úfi‰ÚÔ˜ Ù˘ ∞η‰ËÌ·˚΋˜ ∂Ù·ÈÚ›·˜ ªÂϤÙ˘ Î·È ¶ÚÔÛÙ·Û›·˜ Ù˘ º‡Û˘ ÙÔ˘ ¡fi‚ÈÛ·ÓÙ.
∂ÚÁ¿˙ÂÙ·È ÛÙÔ πÓÛÙÈÙÔ‡ÙÔ ¶ÚÔÛÙ·Û›·˜ ÙÔ˘ ¶ÂÚÈ‚¿ÏÏÔÓÙÔ˜ Ù˘ ™ÂÚ‚›·˜ ˆ˜ ÂÈÛÙËÌÔÓÈÎfi˜ Û‡Ì‚Ô˘ÏÔ˜ ηÈ
‰È¢ı˘ÓÙ‹˜ ‰ËÌÔÛ›ˆÓ Û¯¤ÛˆÓ.
Born in 1969, he studied biology and agriculture at the University of Novi Sad. He created many scientific and
popular films from the fileds of ecology and biology for Novi Sad TV. Oliver Fojkar is also the author and the
editor of many programs on ecology on TV NS. He is a member of Association of film and TV workers of
Vojvodina, Association of microbiologists of Serbia, Federation of European Microbiological Federation,
UNIPAX etc. He is the founder and the president of the Academic Society for Nature Study and Protection. He
is employed at the Institute for Nature conservation of Serbia, as a scientific consultant and public relation
manager.
^
^
Dusan Cekic’
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
°ÂÓÓ‹ıËΠÙÔ 1950 ÛÙÔ µÂÏÈÁÚ¿‰È, Î·È ÛÔ‡‰·Û ÛÙÔ ÙÌ‹Ì· ÎÈÓËÌ·ÙÔÁÚ·Ê›·˜ ÛÙËÓ ∞η‰ËÌ›· £Â·ÙÚÈ΋˜ ηÈ
∫ÈÓËÌ·ÙÔÁÚ·ÊÈ΋˜ ∆¤¯Ó˘ ÛÙÔ ∑¿ÁÎÚÂÌ. ∂ÚÁ¿˙ÂÙ·È ˆ˜ ‰È¢ı˘ÓÙ‹˜ ʈÙÔÁÚ·Ê›·˜ Î·È ‰È¢ı˘ÓÙ‹˜ ·Ú·ÁˆÁ‹˜
ÛÙË ÛÂÚ‚È΋ ÙËÏÂfiÚ·ÛË ÛÙÔ Î·Ó¿ÏÈ ÙÔ˘ ¡fi‚ÈÛ·ÓÙ. ∂›Ó·È ‰ËÌÈÔ˘ÚÁfi˜ ÂÚÈÛÛÔÙ¤ÚˆÓ ·fi 100 ÓÙÔÎÈÌ·ÓÙ¤Ú Î·È
‰È·ÊfiÚˆÓ Ù·ÈÓÈÒÓ Î·È ÛÂÈÚÒÓ Ù˘ ÙËÏÂfiÚ·Û˘. Œ¯ÂÈ ÙÈÌËı› Ì ‰Âο‰Â˜ ‚Ú·‚›· Û ÊÂÛÙÈ‚¿Ï ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘.
2005 New Vojvodina Documentary and
Animated Film Revue in Novi Sad
2004 MEFEST, Zlatibor
Serbia and Montenegro, «Silver
Pine», as the best ecological film
Born in Belgrade in 1950, he studied at the department of film camera of the Academy of theatrical and film
arts in Zagreb. Director of photography and Production Dept. Manager in Serb Broadcasting Corporation,
Television Novi Sad. Author of more than 100 documentaries and several TV dramas and TV series. Received
tens of awards and recognitions at film festivals.
^
√È Oliver
^ Fojkar
Î·È Dusan Cekic’ ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘˜
^
Oliver Fojkar
^
and Dusan Cekic’ about their film
∏ Ù·ÈÓ›· «∏ Ê›ÏË ÌÔ˘, Ë Î·Ú‰ÂÚ›Ó·» ·ÔÙÂÏ›
ÙË ÌfiÓË Ù·ÈÓ›· ÛÙË ™ÂÚ‚›·-ª·˘ÚÔ‚Ô‡ÓÈÔ Ô˘
·Û¯ÔÏÂ›Ù·È Ì ÙËÓ «˘fiıÂÛË ÙˆÓ Ô˘ÏÈÒÓ ·fi
Ù· µ·ÏοÓÈ·». ∏ Ù·ÈÓ›· ηٷÁÁ¤ÏÏÂÈ ÙÔ ıÏÈ‚ÂÚfi
Û˘Ì‚¿Ó Ù˘ ı·Ó¿ÙˆÛ˘ ÙˆÓ Ô˘ÏÈÒÓ ·fi Ï·ıÚÔ΢ÓËÁÔ‡˜, Î·È Ì Âȉ¤ÍÈÔ ÙÚfiÔ ·ÂÈÎÔÓ›˙ÂÈ fiÛÔ ÌÂÁ¿ÏË ÛËÌ·Û›· ÌÔÚ› Ó· ¤¯ÂÈ ¤Ó·
·Ïfi Ô˘Ï› ÁÈ· ¤Ó· ·ÁfiÚÈ. ∆ËÓ Ù·ÈÓ›· ›‰·Ó
ÔÏÏÔ› ÂÓ‹ÏÈΘ Î·È ·È‰È¿, ÁÂÁÔÓfi˜ Ô˘ Ê·ÓÂÚÒÓÂÈ fiÙÈ ÂÎÏ‹ÚˆÛ ÙËÓ ÂÎ·È‰Â˘ÙÈ΋ Ù˘ ·ÔÛÙÔÏ‹ ÛÙÔ ¤·ÎÚÔ. ∏ Ù·ÈÓ›· ·fi ÙË ÌÈ·
ÏÂ˘Ú¿ ÚÔηÏ› Û˘Ó·ÈÛıËÌ·ÙÈÛÌfi ÛÙ· ·È‰È¿ Î·È ‰ËÌÈÔ˘ÚÁ› ÙËÓ ÂÈı˘Ì›· Ó· ÚÔÛٷ٢ı› Ë Ê‡ÛË, Î·È ·fi ÙËÓ ¿ÏÏË ÚÔηÏ› χË, ıÏ›„Ë Î·È Î·Ù¿ÎÚÈÛË fiÙ·Ó ÛÎÔÙÒÓÂÙ·È Ë
ηډÂÚ›Ó·.
The film "My Friend the Goldfinch" is the only
film on the topic of "Birds From the Balkans
Affair" in Serbia-Montenegro. The film
denounces the woeful incidents of killing the
birds by poachers, and in a subtle way it
depicts how much a single bird can mean to a
boy. As a great number of people and
children have seen the film, it realized its
educational mission to the fullest. The film, on
the one hand, incited kind feelings with
children, and it also created a wish to protect
the nature, and on the other, it rouses
sadness, sorrow and reprehension after the
goldfinch is killed.
ECOFILMS
ƒ√¢√™
2005
RODOS
131
¶∂º∆∂𠵃√Ã∏
RAIN IS FALLING
°ÂÚÌ·Ó›· Germany, 2004
¢È¿ÚÎÂÈ· Running time: 14’ 30’’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Ideal Film
Holger Ernst
Jablonskistrasse 28
10405 Berlin
Germany
Tel: +49 30 48623300, +49 177 4171855
Fax: +49 30 48623300
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: Holger Ernst
∫¿ÌÂÚ· Camera: Stefan Grandinetti
ªÔÓÙ¿˙ Edit: Andreas Preisner
◊¯Ô˜ Sound: Immo Trümpelmann
¶·Ú·ÁˆÁfi˜ Producer: Nathalie Arnegger
™‡ÓÔ„ËSynopsis
ŒÓ· ÎÔÚÈÙÛ¿ÎÈ ‰Ô˘Ï‡ÂÈ ÛÎÏËÚ¿ ÁÈ· Ó· ʤÚÂÈ ÓÂÚfi ÛÙÔ Û›ÙÈ, ÊÚÔÓÙ›˙ÂÈ ÙÔ ÓÔÈÎÔ΢ÚÈfi Î·È ÙËÓ
¿ÚÚˆÛÙË ÌËÙ¤Ú· Ù˘. ∆Ô ÓÂÚfi ·›˙ÂÈ ÌÂÙ·ÊÔÚÈÎfi ÚfiÏÔ Û ·˘Ù‹ ÙËÓ Ù·ÈÓ›·. ø˜ Ô˘ÛÈ·ÛÙÈÎfi ̤ÚÔ˜
Ù˘ ηıËÌÂÚÈÓ‹˜ Ì·˜ ˙ˆ‹˜ ‰ÂÓ Ú¤ÂÈ Ó· ÙÔ ıˆÚԇ̠‰Â‰Ô̤ÓÔ, Î·È Â›Ó·È ‰‡ÛÎÔÏÔ Ó· ‚ÚÂı›. ∆Ô
ÓÂÚfi, ÙÔ ‚·ÛÈÎfi ÂÏÈÍ›ÚÈÔ Ù˘ ˙ˆ‹˜, Í·ÊÓÈο Á›ÓÂÙ·È ·ÂÈÏ‹. ∆Ô ÎÔÚ›ÙÛÈ ‚Ú›ÛÎÂÈ ÌÈ· ·Ï‹ ηÈ
·ÔÙÂÏÂÛÌ·ÙÈ΋ χÛË, fiˆ˜ ÌfiÓÔ ¤Ó· ·È‰› ÌÔÚ› Ó· ÙÔ Î¿ÓÂÈ ·˘Ùfi: ÔÏÔÎÏËÚÒÓÂÈ ÙÔÓ «Î‡ÎÏÔ».
A little girl works hard to bring water back home, taking care of the house and her sick mother.
Water plays a metaphoric role in this film. Being an essential part of day to day life, it is not to be
taken for granted and is difficult to obtain. Water, the basic elixir of life, suddenly turns into a
threat. And as only a child can, the girl finds a simple but fulfilling solution; completing the
"Circle".
132
ECOFILMS
ƒ√¢√™
2005
RODOS
Holger Ernst
°ÂÓÓ‹ıËΠÛÙË °ÂÚÌ·Ó›·. ™Ô‡‰·Û ÔÙÈΤ˜ ÂÈÎÔÈӈӛ˜, Ì Âȉ›Î¢ÛË ÛÙÔ ÛÂÓ¿ÚÈÔ Î·È ÙË ÛÎËÓÔıÂÛ›· ÛÙË ™¯ÔÏ‹
∫·ÏÒÓ ∆¯ÓÒÓ ÙÔ˘ ∫¿ÛÂÏ Ù˘ °ÂÚÌ·Ó›·˜. Œ¯ÂÈ ÛÎËÓÔıÂÙ‹ÛÂÈ ÔÎÙÒ Ù·Èӛ˜ ÌÈÎÚÔ‡ Ì‹ÎÔ˘˜, Ô˘ ¤¯Ô˘Ó ÚÔ‚ÏËı› ηÈ
‚Ú·‚¢ı› Û ÔÏÏ¿ ÊÂÛÙÈ‚¿Ï.
Born in Germany. He studied Visual Communications, specializing in writing and directing in the Academy of Arts
in Kassel, Germany. ∏e directed eight short films, which were screened and awarded in numerous film festivals.
Holger Ernst
Jablonskistrasse 28
10405 Berlin
Germany
Tel: +49 30 48623300, +49 177 4171855
Fax: +49 30 48623300
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 The House Is Burning
2004 Rain Is Falling
2003 Natur pur
2000 Kleine Fische
1999 Kleistronic
1998 Der blaue Engel und das Leben der
Martha S.
1997 Argus
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
Venice Film Festival
Max Ophüls Festival
Tribeca Film Festival
Buster Children's Film Festival
Chicago International Children's Film Festival
Aix-en-Provence Short Film Festival
Prague Short Film Festival
√ Holger Ernst ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Holger Ernst about his film
™Â ÌÈ· ÂÔ¯‹ Ô˘ fiÏ· Ù· Û‡ÓÔÚ· ÂıÓÈÎÒÓ, ıÚËÛ΢ÙÈÎÒÓ Î·È ÔÏÈÙÈÛÙÈÎÒÓ ‰È·ÊÔÚÒÓ ·ÌÊÈÛ‚ËÙÔ‡ÓÙ·È, Ë Ù·ÈÓ›· «¶¤ÊÙÂÈ ‚ÚÔ¯‹» οÓÂÈ ÌÈ· Û‡Ó‰ÂÛË, Ú›¯ÓÂÈ ÌÈ· Ì·ÙÈ¿ Û ¤Ó·Ó ͤÓÔ ÎfiÛÌÔ Î·È ÂÓı·ÚÚ‡ÓÂÈ ÙÔ ‰È¿ÏÔÁÔ ·Ó¿ÌÂÛ· ÛÙÔ˘˜ ͤÓÔ˘˜ ÌÂٷ͇ ÙÔ˘˜ ÎfiÛÌÔ˘˜. ∏ Ù·ÈÓ›· «¶¤ÊÙÂÈ ‚ÚÔ¯‹» ‰ÈËÁÂ›Ù·È ÙËÓ ÈÛÙÔÚ›· ÌÈ·˜ χÛ˘, Ô˘ Û˘ÁÎÚÈÙÈο ηıÚÂÊÙ›˙ÂÈ ÙÔ ÌÂÁ¿ÏÔ Ì¤Û· ÛÙÔ ÌÈÎÚfi. ŒÓ· Ú¿ÁÌ·
Á›ÓÂÙ·È Û·Ê¤˜: Ë ·ÊÔÛ›ˆÛË Î·È Ë ÛÙÔȯÂÈ҉˘
Û¯¤ÛË ·Á¿˘ Î·È ·ÓıÚˆÈ¿˜ ÌÂÙÔ˘ÛÈÒÓÂÈ Î·È
ÙËÓ ÈÔ ·Ï‹ Ú¿ÍË Û χÙÚˆÛË. √È ‰È·ÈÛıËÙÈΤ˜
ÂÈÎfiÓ˜ ˘Ê·›ÓÔÓÙ·È Û ÌÈ· ÔÈËÙÈ΋ ·ÊËÁËÌ·ÙÈ΋
‰ÔÌ‹. µÚ·‰‡ÙËÙ· Î·È ·ÙÌfiÛÊ·ÈÚ· ‰ËÌÈÔ˘ÚÁÔ‡Ó
ÌÈ· ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ÎÏÈ̿ΈÛË, Ô˘ ·ÔηχÙÂÈ ÙÔ ÌÈÎÚfi, ÙËÓ ÔÌÔÚÊÈ¿ ÙÔ˘ ·ÏÔ‡ Î·È Ê˘ÛÈÎÔ‡, Ô˘ ÌÔÚ› Ó· ÁÂÊ˘ÚÒÛÂÈ ¯¿ÛÌ·Ù· ÙfiÛÔ
ÌÂٷ͇ ·ÓıÚÒˆÓ, fiÛÔ Î·È ÌÂٷ͇ ÔÏÈÙÈÛÌÒÓ.
In a time, in which all borders of ethnic, religious
and cultural differences are being questioned,
"Rain is falling" makes a connection, takes a look
into a foreign world and encourages a dialogue
between the worlds of strangers. "Rain is falling"
tells the story of a solution, that comparatively
abstracts the big in the small. One thing
becomes clear: The devotedness and
elementary relationship of love and humanity
lifts up the most simple action to redemption.
Intuitive images weave themselves into a poetic
narrative structure. Slowness and atmosphere
build up to a cinematic climax, that uncovers the
small, the beauty of the simple and natural, that
may bridge human as well as cultural gaps
ECOFILMS
ƒ√¢√™
2005
RODOS
133
∞¡∞ª¡∏™∏ µƒ√Ã∏™
REMEMBERING RAIN
∞˘ÛÙÚ·Ï›· Australia, 2005
¢È¿ÚÎÂÈ· Running time: 55’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
FILM AUSTRALIA
101 Eton Road
Lindfield NSW 2070
Australia
Tel: +612 9413 8636
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: Mandy Chang
∫¿ÌÂÚ· Camera: Peter Coleman,
Allan Collins, Paul Ree, Simon Smith,
Micah Walker
ªÔÓÙ¿˙ Edit: Mark Middis
°Ú·ÊÈο Graphics: Zspace
ªÔ˘ÛÈ΋ Music: Andrew Phillips
ŒÚ¢ӷ Research: Mandy Chang
◊¯Ô˜ Sound: Leo Sullivan
∂ÎÙ¤ÏÂÛË ·Ú·ÁˆÁ‹˜
Executive Producer: Penny Robins
¶·Ú·ÁˆÁfi˜ Producer:
Megan McMurchy, Mandy Chang
134
™‡ÓÔ„ËSynopsis
∞ÓÙÈÌÂÙˆ›˙ÔÓÙ·˜ ÙË ¯ÂÈÚfiÙÂÚË ÍËÚ·Û›· Ô˘ ¤¯ÂÈ ÔÙ¤ ηٷÁÚ·Ê›, ÔÈ A˘ÛÙÚ·ÏÔ› Ù˘ ˘·›ıÚÔ˘
fiÓÙ·Ú·Ó Ù· fiÓÂÈÚ¿ ÙÔ˘˜ ÛÙËÓ Èı·ÓfiÙËÙ· Ó· ‚Ú¤ÍÂÈ, Î·È ÙÒÚ· ¤¯Ô˘Ó ·Ú¯›ÛÂÈ Ó· ÂÌÊ·Ó›˙ÔÓÙ·È
ÚˆÁ̤˜ fi¯È ÌfiÓÔ ÛÙËÓ ·ÔÍËڷ̤ÓË ÁË. ™ÙËÓ Ù·ÈÓ›· «∞Ó¿ÌÓËÛË ‚ÚÔ¯‹˜» Û˘Ó·ÓÙԇ̠ٷ ̤ÏË
ÌÈ·˜ ·ÁÚÔÙÈ΋˜ ÎÔÈÓfiÙËÙ·˜ ÂÓÒ ÚÔÛ·ıÔ‡Ó Ó· ÍÂÂÚ¿ÛÔ˘Ó ÙËÓ ÎÚ›ÛË. ∏ fiÌÔÚÊ· ÎÈÓËÌ·ÙÔÁÚ·ÊË̤ÓË Ù·ÈÓ›· Ì ¿ÏÏÔÙ ΈÌÈΤ˜ Î·È ¿ÏÏÔÙÂ Û˘Ó·ÈÛıËÌ·ÙÈΤ˜ ÛÙÈÁ̤˜ ·ÔÙÂÏ› ¤Ó· ÔÙÈÎfi ÔÚÙÚ¤ÙÔ ÌÈ·˜ ¯ÒÚ·˜ ÎÈ ÂÓfi˜ ¯·Ú·ÎÙ‹Ú· ‰È·ÌÔÚÊˆÌ¤ÓˆÓ ·fi ÙËÓ ÍËÚ·Û›·. ŒÓ· ÔÚÙÚ¤ÙÔ Ô˘ ı¤ÙÂÈ
ÙÔ ÂÚÒÙËÌ· Ù˘ ÂÈ‚›ˆÛ˘ Ù˘ ηÏÏȤÚÁÂÈ·˜ Û ÌÈ· ·fi ÙȘ ÍËÚfiÙÂÚ˜ ηÙÔÈÎË̤Ó˜ Ë›ÚÔ˘˜ Ù˘
Á˘.
In the face of the worst drought on record, rural Australians have gambled their dreams on the
chance of rain - and cracks are starting to show in more than just the parched earth. In
"Remembering Rain" we meet the people of one farming community as they attempt to
weather the crisis. Beautifully photographed, in turns funny and moving, this is an iconic
portrait of a land and a character shaped by drought - one that raises the question of the very
viability of farming in the driest inhabited continent on earth.
ECOFILMS
ƒ√¢√™
2005
RODOS
Mandy Chang
ªÂÙ¿ ÙËÓ ÂÎ·›‰Â˘Û‹ Ù˘ ÛÙÔ BBC, Ë Mandy Chang Â›Ó·È Â‰Ò Î·È Û¯Â‰fiÓ ÌÈ· ‰ÂηÂÙ›· ÛÎËÓÔı¤Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú.
∫¤Ú‰ÈÛ ÙÔ ‚Ú·‚Â›Ô Grierson ÁÈ· ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú Ù˘ Û¯ÂÙÈο Ì ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· Antoni Gaudi, Î·È ÔÈ Ù·Èӛ˜ Ù˘
¤¯Ô˘Ó ÚÔÙ·ı› ÁÈ· Ù· ‚Ú·‚›· Emmy, Indie Î·È Golden Rose ÙÔ˘ Montreux. ∆Ô ÚÒÙÔ Ù˘ ÓÙÔÎÈÌ·ÓÙ¤Ú
‚Ú·‚‡ÙËΠ̠ÙÔ Silver Apple (∂ıÓÈÎfi ºÂÛÙÈ‚¿Ï ∆ËÏÂfiÚ·Û˘ ÛÙËÓ ∫·ÏÈÊfiÚÓÈ·). ∆· ÓÙÔÎÈÌ·ÓÙ¤Ú Ù˘ ηχÙÔ˘Ó
ÌÈ· ÌÂÁ¿ÏË Áο̷ Ù¯ÓÔÙÚÔÈÒÓ Î·È ¤¯Ô˘Ó ÌÂÙ·‰Ôı› ÛÙËÓ ÙËÏÂfiÚ·ÛË ÙÔ˘ ∏ӈ̤ÓÔ˘ µ·ÛÈÏ›Ԣ Î·È ÛÙÔ
Â͈ÙÂÚÈÎfi. ¶·Ú¿ÏÏËÏ· Ì ÙË ÛÎËÓÔıÂÛ›· ÓÙÔÎÈÌ·ÓÙ¤Ú ¤¯ÂÈ ·Ú¯›ÛÂÈ Ó· ·Û¯ÔÏÂ›Ù·È Ì ÙËÓ ÂÎÙ¤ÏÂÛË ·Ú·ÁˆÁ‹˜
Î·È ·˘Ù‹ ÙËÓ ÂÚ›Ô‰Ô ÁÚ¿ÊÂÈ ¤Ó· ‚È‚Ï›Ô.
Mandy Chang
Flat 7, 118 Great Portland St
London W1W 6PW
United Kingdom
Tel: +44 20 7323 9375
Email: [email protected]
A BBC trainee, Mandy Chang has been making documentaries for nearly a decade. She won a Grierson for her
film on architect Antoni Gaudi, and her work has been nominated for Emmy, Indie, Golden Rose of Montreux
awards. Her first documentary won a Silver Apple (national TV Festival, California) award. Mandy’s work
covers a broad range of genres that have been shown on all the UK terrestrial channels and abroad, As well
as continuing to make documentaries she has also moved into executive producing and is currently writing a
book.
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 Remembering rain
2004 The State of Texas
2003 Superhomes New York: Buying a Slice
of the Big Apple
2002 Visions of Space: God’s Architect,
Antoni Gaudi
Girls behaving badly: Material Girls
2001 Howard Goodall’s Great Dates: 1937
2000-2001 Hello Culture, 2x50’
2000 La Boheme
1999–2000 Generation Sex, 2x30’
1999 Jaqueline Dupre: Playing with Fire
1997-1998 The People’s Princess
1997 Metroland V: A Passion for Fashion
1999–1996 BBC & Arts
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
2006 Dhaka International Film Festival,
Bangladesh
2005 Winner ACS Gold Award
Documentaries, Cinema, TV (Allan Collins)
H Mandy Chang ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Mandy Chang about her film
ÕÚ¯ÈÛ· Ó· ·Ó·ÚˆÙÈ¤Ì·È ÁÈ·Ù› ‰ÂÓ ¤¯ÂÈ Î¿ÓÂÈ Î·Ó›˜ ¤Ó· ÓÙÔÎÈÌ·ÓÙ¤Ú Ì ı¤Ì· ÙËÓ ·ÓıÚÒÈÓË
ÏÂ˘Ú¿ Ù˘ ÍËÚ·Û›·˜. ∂ȉ‹ÛÂȘ Î·È ÂÓËÌÂÚˆÙÈΤ˜ ÂÎÔÌ¤˜ ¤‰ÂÈ¯Ó·Ó ·ÓıÚÒÔ˘˜ Ó· ÛÙ¤ÎÔÓÙ·È ÌÚÔÛÙ¿ ÛÙ· ÍÂÚ¿ ÊÚ¿ÁÌ·Ù·, Ì· ÔÙ¤ ‰ÂÓ
·ÚÔ˘ÛÈ·˙fiÙ·Ó Ë ˙ˆ‹ ÙÔ˘˜, Ë ÈÛÙÔÚ›· ÙÔ˘˜ ‹ Ë
Û˘Ó·ÈÛıËÌ·ÙÈ΋ ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ηıËÌÂÚÈÓÔ‡ ·ÁÒÓ· ÙÔ˘˜. √È ¿ÓıÚˆÔÈ Ô˘ ÁÓÒÚÈÛ·
ηٿ ÙË ‰ËÌÈÔ˘ÚÁ›· ·˘Ù‹˜ Ù˘ Ù·ÈÓ›·˜ ‹Ù·Ó ÂÍ·ÈÚÂÙÈο Û˘Ì·ı›˜. ¶·Ú¿ ÙËÓ ÂÚËÊ¿ÓÈ·
ÙÔ˘˜, ÌÔ˘ ÚfiÛÊÂÚ·Ó ·Ïfi¯ÂÚ· ÙË ‰˘Ó·ÙfiÙËÙ· Ó· ڛ͈ ÌÈ· Ì·ÙÈ¿ ÛÙȘ ˙ˆ¤˜ ÙÔ˘˜, Î·È Â›¯·Ó
ÙÔ ÎÔ˘Ú¿ÁÈÔ Ó· ‰Â›ÍÔ˘Ó ÙÔ fiÛÔ ÙÚˆÙÔ› ›ӷÈ.
ÕÚ¯ÈÛ ӷ Ì ÂӉȷʤÚÂÈ Ôχ ÙÔ ÙÈ ÙÔ˘˜ Û˘Ì‚·›ÓÂÈ. ºÔ‚¿Ì·È ˆ˜ Ô ÙÚfiÔ˜ ˙ˆ‹˜ ÙÔ˘˜ ı· ÂÎÏ›„ÂÈ, ΢ڛˆ˜ ÂÂȉ‹ ÔÈ ÓfiÌÔÈ Ù˘ ÔÈÎÔÓÔÌ›·˜
‰ÂÓ Â›Ó·È Ì ÙÔ Ì¤ÚÔ˜ ÙÔ˘˜, Ô‡Ù ÙÒÚ·, Ô‡Ù ÛÙÔ
ÎÔÓÙÈÓfi ̤ÏÏÔÓ.
I began to wonder why no one had made a
documentary about the human side of the
drought. News and current affairs reports
showed people standing on the edge of dry
dams, but you never got a sense of their lives,
their histories, or their emotional responses to
the daily struggles. The people I met during
this project were extremely likeable. Despite
their pride, they generously allowed me to
have a window into their lives -and they had
the courage to let their vulnerability show. I
came to care greatly about them and what
happens to them. I suspect that their way of
life will die out, chiefly because the laws of
economics are not in their favour, either now
or in the foreseeable future.
ECOFILMS
ƒ√¢√™
2005
RODOS
135
∞¡∞µπø¡√¡∆∞™ ∆√À™ À°ƒ√∆√¶√À™
REVIVING WETLANDS
∂ÏÏ¿‰·, πÛ·Ó›·,
∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ, °ÂÚÌ·Ó›·
Greece, Spain,
UK, Germany, 2004
¢È¿ÚÎÂÈ· Running time: 45’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Udo Gattenlöhner
Global Nature Fund
Fritz-Reichle-Ring 4
78315 Radolfzell
Germany
Tel: +49-77 32 99 95-80
Fax +49-77 32 99 95-80
Email: gattenloehner@globalnature
™ÎËÓÔı¤Ù˘, ªÔÓÙ¿˙, ¶·Ú·ÁˆÁfi˜
Director, Edit, Producer:
Björn Henning Rosenbaum
™ÂÓ¿ÚÈÔ Script: Udo Gattenlöhner
∞Ê‹ÁËÛË Narration: Pauline BramallStephany (English), Alexander Rosenbaum
(German), Anna Escala (Spanish), Evangelia
Takidou (Greek)
™‡ÓÔ„ËSynopsis
∏ ÂÎ·È‰Â˘ÙÈ΋ Ù·ÈÓ›· «∞Ó·‚ÈÒÓÔÓÙ·˜ ÙÔ˘˜ ÀÁÚÔÙfiÔ˘˜» ÂÈÎÂÓÙÚÒÓÂÙ·È ÛÙËÓ ÚÔÛÙ·Û›· ÙˆÓ ÓÂÚÒÓ Î·È Ù˘ ‚ÈÔÔÈÎÈÏfiÙËÙ·˜ ̤ۈ Ù˘ ÚÔÛÙ·Û›·˜ ÙˆÓ ÏÈÌÓÒÓ Î·È ÙˆÓ ˘ÁÚÔÙfiˆÓ. √È ÂÚÈÔ¯¤˜
Ô˘ ·ÚÔ˘ÛÈ¿˙ÔÓÙ·È Â›Ó·È Ù˘ÈΤ˜ ÁÈ· ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ ÙˆÓ ˘ÁÚÔÙfiˆÓ Î·È Ú˯ÒÓ ÏÈÌÓÒÓ
ÛÙËÓ ∂˘ÚÒË. ∏ §· ¡¿‚· Ù˘ πÛ·Ó›·˜ ·ÓÙÈÚÔÛˆ‡ÂÈ ÙÔ ÙÔ›Ô ÙˆÓ ÛÙÂˆ‰ÒÓ ÏÈÌÓÒÓ, ÂÓfi˜ ÔÈÎÔÛ˘ÛÙ‹Ì·ÙÔ˜ Ù· ‰‡Ô ÙÚ›Ù· ÙÔ˘ ÔÔ›Ô˘ ¤¯Ô˘Ó ηٷÛÙÚ·Ê› ηٿ ÙË ‰È¿ÚÎÂÈ· ÙˆÓ ÚÔËÁÔ‡ÌÂÓˆÓ
50 ÂÙÒÓ. √È Ï›ÌÓ˜ ÙÔ˘ ¡¤ÛÙÔ˘ Î·È ÔÈ ÏÈÌÓÔı¿Ï·ÛÛ˜ ÛÙËÓ ∂ÏÏ¿‰· Â›Ó·È ¯·Ú·ÎÙËÚÈÛÙÈΤ˜ ÁÈ· ¿ÏϘ
ÂÚÈÔ¯¤˜ ˘ÁÚÔÙfiˆÓ ÛÙËÓ ∂˘ÚÒË. Ÿˆ˜ ÛÙËÓ ÂÚÈÔ¯‹ ÙÔ˘ ‰¤ÏÙ· ÙÔ˘ ¡¤ÛÙÔ˘, ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ
Â˘Úˆ·˚ÎÔ› ˘ÁÚfiÙÔÔÈ Û˘Ó‰¤ÔÓÙ·È Ì ÙȘ ·Ú¿ÎÙȘ ˙ÒÓ˜ Î·È ÙȘ ·Ú·ÔÙ¿ÌȘ ‰ȿ‰Â˜.
∏ Ù·ÈÓ›· ·ÚÔ˘ÛÈ¿˙ÂÈ ÓÙfiÈÔ˘˜ Ó· ÂÊ·ÚÌfi˙Ô˘Ó ÚˆÙÔÔÚȷο ̤ÙÚ· ÚÔÛÙ·Û›·˜, fiˆ˜ Ë ÂÁηٿÛÙ·ÛË Ô˘‰¤ÙÂÚˆÓ ˙ˆÓÒÓ ÌÂٷ͇ ÙˆÓ ÏÈÌÓÒÓ Î·È ÙÔ˘ ηÏÏÈÂÚÁË̤ÓÔ˘ ‰¿ÊÔ˘˜ ÚÔÎÂÈ̤ÓÔ˘
Ó· ÌÂȈı› Ë ‰È¿¯˘ÛË Ù˘ ÚfiÛÏ˄˘ ıÚÂÙÈÎÒÓ Ô˘ÛÈÒÓ Î·È Ó· ‚ÂÏÙȈı› Ë ÔÈfiÙËÙ· ÙˆÓ ˘fiÁÂÈˆÓ ˘‰¿ÙˆÓ. ∂ÈϤÔÓ, Ë Ù·ÈÓ›· ηٷ‰ÂÈÎÓ‡ÂÈ Ò˜ Ë ˘ÂÚ¿ÓÙÏËÛË ÙÔ˘ ÓÂÚÔ‡ ÌÔÚ› Ó· ÌÂȈı› ̤ۈ Ù˘ ÚÔÒıËÛ˘ Ù˘ ÂÎÙ·ÙÈ΋˜ ÁˆÚÁ›·˜.
The educational film "Reviving Wetlands" focuses on the protection of water and biodiversity
through the conservation of lakes and wetlands. The areas presented are typical for a great
number of wetlands and shallow lakes in Europe. La Nava in Spain represents the landscape of
steppe lakes, an ecosystem two thirds of which have been destroyed during the past 50 years.
The Nestos lakes and lagoons in Greece are typical for other wetland areas in Europe. Like in the
Nestos Delta area most European wetlands are associated with lying coastal zones and riverine
flood-plains.
The film shows locals implementing innovative conservation measures such as installing buffer
zones between the lakes and cultivated land in order to reduce diffuse nutrient intake and to
improve the ground-water quality. Moreover, the movie demonstrates how the overabstraction of water can be reduced through the promotion of extensive agriculture.
136
ECOFILMS
ƒ√¢√™
2005
RODOS
Björn Henning Rosenbaum
°ÂÓÓ‹ıËΠÙÔ 1980 ÛÙËÓ ∫·ÚÏÛÚÔ‡Ë. ∂·ÁÁÂÏÌ·ÙÈ΋ ÂÎ·›‰Â˘ÛË ˆ˜ ۯ‰ȷÛÙ‹˜ Ì¤ÛˆÓ Ì·˙È΋˜ ÂÓË̤ڈÛ˘
ÛÙÔÓ ‹¯Ô Î·È ÙËÓ ÂÈÎfiÓ· ÛÙÔ ∂ÌÔÚÈÎfi ∂ÈÌÂÏËÙ‹ÚÈÔ ¶ÔÏ˘Ì¤ÛˆÓ Î·È µÈÔÌ˯·Ó›·˜ Ù˘ ∫·ÚÏÛÚԇ˘, ÛÙËÓ
mekom GmbH Î·È ÛÙË Ú·‰ÈÔÙËÏÂfiÚ·ÛË Ù˘ Südwestrundfunk (SWR). ÿ‰Ú˘Û ÙËÓ VIEW AND DO
Medien–Kunst–Ereignisse ÛÙËÓ ∫·ÚÏÛÚÔ‡Ë. ™˘ÓÂÚÁ·Û›· Ù˘ VIEW AND DO Ì ÙËÓ projektART
ÂÈÎÂÓÙÚÒÓÔÓÙ·˜ ÙÔ ÂӉȷʤÚÔÓ ÙÔ˘˜ ÛÙȘ ÂȯÂÈÚ‹ÛÂȘ Î·È ÙÔÓ ÔÏÈÙÈÛÌfi.
Born in 1980 in Karlsruhe. Professional Training as Media Designer Sound and Vision at Multimedia Chamber
of Commerce and Industry Karlsruhe, mekom GmbH Karlsruhe and the broadcasting corporation
Südwestrundfunk (SWR) Baden-Baden. Foundation of VIEW AND DO Medien–Kunst–Ereignisse in Karlsruhe.
Cooperation of VIEW AND DO with projektART with focus on business and culture.
Björn Rosenbaum
VIEW AND DO
Durmersheimer Str. 95
76185 Karlsruhe
Germany
Tel: +49-(0)721 516 40 40
Fax: +49-(0)721 516 40 41
∂mail: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 Stuttgart meets Mumbai – visiting
Baden-Württemberg
Faszination Radsport –
Deutschlandtour
Arena-Sommernachtstraum – TVShow – dm-Arena
2005 Tour de France 2005 – Tour-Etappe
7: Luneville
Rainer Markus Wimmer & Band –
LIVE IN CONCERT
Hafen-Kultur-Fest 2005
Die Welt der Folklore zu Gast in
Karlsruhe
Augenblicke eines halben
Jahrhunderts – Erinnerungen an
Marienfeld
2004 Reviving Wetlands
Multivision video background
Hafen-Kultur-Fest
2003 Nature Workcamp at Greater St. Lucia
Wetlands / South Africa
Multiple Voice – LOS!
√ Björn Henning Rosenbaum
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Björn Henning Rosenbaum
about his film
°ÂÓÈÎfi˜ ÛÙfi¯Ô˜ ·˘Ù‹˜ Ù˘ Ù·ÈÓ›·˜ Â›Ó·È Ó· ‰Â›ÍÂÈ
Ò˜ ÔÈ ˘ÁÚfiÙÔÔÈ ÌÔÚÔ‡Ó Ó· Â·Ó¤ÏıÔ˘Ó
ÛÙËÓ ·ÏÈ¿ ÙÔ˘˜ ÌÔÚÊ‹ Î·È Ó· ‰È·¯ÂÈÚÈÛÙÔ‡Ó
Ì ÙÚfiÔ˘˜ Ô˘ Â›Ó·È Û˘Ì‚·ÙÔ› Ì ÙËÓ ·ÂÈÊfiÚÔ
·Ó¿Ù˘ÍË. ∏ Ù·ÈÓ›· ÂȉÂÈÎÓ‡ÂÈ Ò˜ ÌÔÚÔ‡Ó
Ó· ÚÔÛٷ٢ıÔ‡Ó ˘ÁÚfiÙÔÔÈ Î·È Ú˯¤˜ Ï›ÌÓ˜
Ô˘ ‚Ú›ÛÎÔÓÙ·È Û ΛӉ˘ÓÔ Ì ÙË ‚Ô‹ıÂÈ· Ù˘
·Ó¿Ù˘Í˘ ÚÔÛ·ÚÌÔÛÌ¤ÓˆÓ ‰ÈÔÈÎËÙÈÎÒÓ
ۯ‰›ˆÓ Î·È ÙËÓ ÂÊ·ÚÌÔÁ‹ ÙˆÓ ÌÂÙ·‚È‚¿ÛÈÌˆÓ Ì¤ÙÚˆÓ Û˘ÓÙ‹ÚËÛ˘ fiˆ˜ ÔÈ Ô˘‰¤ÙÂÚ˜
˙ÒÓ˜, ÔÈ ÏˆÚ›‰Â˜ Ê›ÏÙÚˆÓ, Ë ·Ó·‰¿ÛˆÛË Î·È
Ë ·ÔÌ¿ÎÚ˘ÓÛË ·ÔÚÚÈÌÌ¿ÙˆÓ. ∏ Ù·ÈÓ›· ‰Â›¯ÓÂÈ ·Ù¿ ·Ú·‰Â›ÁÌ·Ù· ‰È·¯Â›ÚÈÛ˘ ˘ÁÚÔÙfiˆÓ, Ï·Ì‚¿ÓÔÓÙ·˜ ˘fi„Ë ÙfiÛÔ ÙÔ˘˜ Ê˘ÛÈÎÔ‡˜
·Ú¿ÁÔÓÙ˜, fiÛÔ Î·È ÙȘ ·Ó¿ÁΘ ÙÔ˘ ÙÔÈÎÔ‡
ÏËı˘ÛÌÔ‡. √ Ì·ÎÚÔÚfiıÂÛÌÔ˜ ÛÎÔfi˜ Ù˘
Ù·ÈÓ›·˜ Â›Ó·È Ó· ¢·ÈÛıËÙÔÔÈ‹ÛÂÈ ÙÔ˘˜ ·ÓıÚÒÔ˘˜ ÁÈ· ÙËÓ ·ÁÎfiÛÌÈ· ‚ÂÏÙ›ˆÛË Ù˘ ÔÈfiÙËÙ·˜ ÓÂÚÔ‡ ÙˆÓ ÏÈÌÓÒÓ Î·È ÙˆÓ ˘ÁÚÔÙfiˆÓ ηÈ
ÙËÓ ÚÔÛÙ·Û›· Ù˘ ‚ÈÔÔÈÎÈÏfiÙËÙ·˜ Î·È Ù˘ ¿ÁÚÈ·˜ ʇÛ˘. ∂ÈϤÔÓ, ·Ú¤¯ÂÈ ¤Ó· Û˘ÁÎÂÎÚÈ̤ÓÔ ·Ú¿‰ÂÈÁÌ· ÁÈ· ÙËÓ ÂÊ·ÚÌÔÁ‹ ÙÔ˘ Â˘Úˆ·˚ÎÔ‡ Ï·ÈÛ›Ô˘ Ô‰ËÁÈÒÓ ÁÈ· ÙÔ ÓÂÚfi.
The overall aim of this film is to show how
wetlands can be restored and managed in
ways that are compatible with sustainable
development. The movie showcases the
protection of endangered wetlands and
shallow lakes by means of developing
adapted management plans and application
of transferable conservation measures such as
buffer zones, filter strips, reforestation and
garbage removal. The film demonstrates
tangible examples for managing wetlands,
taking into account natural factors as well as
the needs of the local population. The longterm intension of the film is to sensitise
people for the worldwide improvement of
water quality of lakes and wetlands and the
protection of biodiversity and wildlife.
Moreover, it provides a concrete example for
the implementation of the EU-WaterFramework-Directive.
ECOFILMS
ƒ√¢√™
2005
RODOS
137
∏ ƒ√¢√™ ∫∞π ∏ §∂πæÀ¢ƒπ∞ ™∆∞ ¡∏™π∞
RHODES ET LES LES SANS EAU
RHODES AND THE WATER SHORTAGE IN THE ISLANDS
°·ÏÏ›· France, 2002
¢È¿ÚÎÂÈ· Running time: 12’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
France Télévision
™ÎËÓÔı¤Ù˘ Director: ¡›ÎÔ˜ ∫Ô‡ÙÛÈη˜
Nicolas Koutsikas ,Gille Ragris
∫¿ÌÂÚ· Camera: Gilles Ragris
◊¯Ô˜ Sound: Odile Darmostoupe
ªÔÓÙ¿˙ Edit: Corinne Contour
ªÔ˘ÛÈ΋ Music: Arnaud de Boisfleury
¢È‡ı˘ÓÛË ·Ú·ÁˆÁ‹˜
Production Management: Rachid Korichi
¶·Ú·ÁˆÁ‹ Production: Rachid Korichi
138
™‡ÓÔ„ËSynopsis
H ÍËÚ·Û›· ·ÔÙÂÏÔ‡Û ¿ÓÙÔÙ ¤Ó· ÛËÌ·ÓÙÈÎfi Úfi‚ÏËÌ· ÛÙ· ÓËÛÈ¿ ÙÔ˘ ∞ÈÁ·›Ô˘. ™ÙË ‰È¿ÚÎÂÈ·
Ù˘ ÙÂÏÂ˘Ù·›·˜ ‰ÂηÂÙ›·˜ ÙÔ Ê·ÈÓfiÌÂÓÔ ÂȉÂÈÓÒıËΠ΢ڛˆ˜ ÏfiÁˆ Ù˘ ·ÏÏ·Á‹˜ ÛÙÔÓ ÙÚfiÔ ˙ˆ‹˜
ÙˆÓ Î·ÙÔ›ÎˆÓ ·ÏÏ¿ Î·È ÏfiÁˆ ÙˆÓ ÛÙÂ›ÚˆÓ ÔÏÈÙÈÎÒÓ ·Ú¿ÏÔÁ˘ ·Ó¿Ù˘Í˘ ÁÈ· ÙÔÓ ÙÔ˘ÚÈÛÌfi. ∆Ô
̤ÏÏÔÓ ÙˆÓ ÓËÛÈÒÓ Â›Ó·È ·‚¤‚·ÈÔ Î·È Î·Ì›· ¿ÏÏË ÔÚ·Ù‹ χÛË ‰ÂÓ Ê·›ÓÂÙ·È ÂÊÈÎÙ‹. ∫·Ó¤Ó·˜ οÙÔÈÎÔ˜ ‰ÂÓ ÌÔÚ› ‚¤‚·È· Ó· ¯¿ÛÂÈ ÙËÓ Â‚‰ÔÌ·‰È·›· ‰È·ÓÔÌ‹ ÓÂÚÔ‡ Ô˘ ‰È·ÚΛ ÌfiÓÔ ‰‡Ô ÒÚ˜.
Drought has always been an important problem in the islands of the Aegean. During the last
decade the situation got worse mainly because of the change in the way of the resident’s life
but also because of the barren policies of absurd growth for the tourism. The future of the
islands is uncertain and no other visible solution appears feasible. Of course, nobody can miss
out the weekly distribution of water that lasts only two hours.
ECOFILMS
ƒ√¢√™
2005
RODOS
¡›ÎÔ˜ ∫Ô‡ÙÛÈη˜
√ ¡›ÎÔ˜ ∫Ô‡ÙÛÈη˜ ÁÂÓÓ‹ıËΠÛÙËÓ ∞ı‹Ó· ÙÔ 1957. ™Ô‡‰·Û ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ÛÙË ™¯ÔÏ‹ ™Ù·˘Ú¿ÎÔ˘ Î·È ÛÙÔ
Istituto per la Cinematographia Ì ÙÔÓ Dino de Laurentis ÛÙË ƒÒÌË. ∑› ÛÙË °·ÏÏ›·. ∂¯Â› ÛÎËÓÔıÂÙ‹ÛÂÈ
ÔÏ˘¿ÚÈıÌ· ÓÙÔÎÈÌ·ÓÙ¤Ú ÁÈ· ÙË ÙËÏÂfiÚ·ÛË Û¯ÂÙÈη Ì ÙÔ ÂÚÈ‚·ÏÏÔÓ.
Nicolas Koutsikas
Nicolas Koutsikas was born in Athens in 1957. He studied Cinematography in the Stavrakos School in Athens
and in the Istituto per la Cinematographia by Dino Laurentis in Rome. He lives in France. He is the director of
numerous documentaries for the television with ecological subject.
Nicolas Koutsikas
Tel: +33 873 85 62 50, +33 6 71 41 95 49
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 Gulf Stream: a river under the ocean,
52’
2004 Dioxin in the sea, 2x 19’
2003 Turku l’Archipel des glaces, 26’
Plongeurs sous la glace, 11’
Dolphin hunders, Solomon Islands,
46’
2002 Rhodes et les îles sans eau
Kea l’île des weekends, 5’
2001 Vif Argent"Philippines, 27’
1999 The laker boxes of Palekh, 12’
Makah Indiens du Pacifique, 31’
La Vie Après un accident vasculaire
celebrale 30’
Du saumon trangenique, 33’
Champagne pour le Tsar, 33’
OÈ ¡›ÎÔ˜ ∫Ô‡ÙÛÈη˜
Î·È Gille Ragris ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘˜
Nicolas Koutsikas
and Gille Ragris about their film
ŸÏÔÈ ÔÈ ÂȉÈÎÔ› Û‹ÌÂÚ· Û˘ÌʈÓÔ‡Ó fiÙÈ Ë ªÂÛfiÁÂÈÔ˜ ·ÂÈÏÂ›Ù·È ·fi ÙË ÍËÚ·Û›· Î·È ÙË ÏÂÈ„˘‰Ú›· ÛÙȘ ÂfiÌÂÓ˜ ‰ÂηÂٛ˜. ∏ ˘ÂÚı¤ÚÌ·ÓÛË ÙÔ˘ Ï·Ó‹ÙË Ì·˜ ¤ÛÙˆ Î·È Ì 2-3 ‚·ıÌÔ‡˜ ı· ·ÏÏ¿ÍÂÈ ÚÈ˙Èο Ù˘ Û˘Óı‹Î˜ ˙ˆ‹˜. ∆·
ÓËÛÈ¿ ÙÔ˘ ∞ÈÁ·›Ô˘ Â›Ó·È ¤Ó· ÌÈÎÚfi ·Ú¿‰ÂÈÁÌ·
·˘ÙÔ‡ Ô˘ ÚfiÎÂÈÙ·È Ó· Û˘Ì‚Â› ÛÙÔ Ì¤ÏÏÔÓ Î·È
Ù˘ ÂÏ·ÊÚfiÙËÙ·˜ Ô˘ ·ÓÙÈÌÂÙˆ›˙ÔÓÙ·È ÔÏ· Ù·
ÚÔ‚Ï‹Ì·Ù· Û¯ÂÙÈο Ì ÙËÓ ˘ÂÚı¤ÚÌ·ÓÛË
ÙÔ˘ Ï·Ó‹ÙË.
°È· ÙÔ «∏ ƒfi‰Ô˜ Î·È Ë ÏÂÈ„˘‰Ú›· ÛÙ· ÓËÛÈ¿»
¯ÚËÛÈÌÔÔÈ‹Û·Ì ·ÔÎÏÂÈÛÙÈο ·ÓıÚÒÈÓ˜ ÈÛÙÔڛ˜ ÁÈ· Ó· ÛÎÈ·ÁÚ·Ê‹ÛÔ˘Ì ÙËÓ Î·Ù¿ÛÙ·ÛË Ô˘ ‚Ú›ÛÎÔÓÙ·È Û‹ÌÂÚ· Ù· ÓËÛÈ¿ ÙÔ˘ ∞ÈÁ·›Ô˘.
All experts today agree that the
Mediterranean is threatened by the drought
and the water shortage in the next decades.
The overheating of our planet even by 2-3
degrees will radically change the life
conditions. The islands of the Aegean are a
small example of what is to happen in the
future and of coquetry of the way that we
deal with all the problems regarding the
overheating of the planet.
For "Rhodes and the water shortage in the
islands" we used exclusively stories of people
in order to sketch out the current situation of
the Aegean Islands.
ECOFILMS
ƒ√¢√™
2005
RODOS
139
¶ƒø∆∞ ∆√ ¡∂ƒ√
WATER FIRST
∏¶∞ USA, 2006
¢È¿ÚÎÂÈ· Running time: 25’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Amy Hart
HART PRODUCTIONS
PO Box 220
East Greenbush, NY 12061
USA
Tel: +1-518-221-0163
Email: [email protected]
™ÎËÓÔı¤Ù˘, ªÔÓÙ¿˙,
™ÂÓ¿ÚÈÔ, ¶·Ú·ÁˆÁfi˜
Director, ∂dit, Script, Producer:
Amy Hart
∫¿ÌÂÚ· Camera: Steve Nealey – Malawi,
Jonathan Kovel - South Africa
™˘Ì·Ú·ÁˆÁfi˜ Co-Producer: Mark Kelly
™‡ÓÔ„ËSynopsis
ŸÙ·Ó Ú¤ÂÈ Ó· ·Ó·ÊÂÚıԇ̠۠·ÁÎfiÛÌÈ· ı¤Ì·Ù· fiˆ˜ Ë ÔÈÎÔÓÔÌÈ΋ Î·È ÎÔÈÓˆÓÈ΋ ‰ÈηÈÔÛ‡ÓË, Ë ÂÎ·›‰Â˘ÛË ÙˆÓ ÎÔÚÈÙÛÈÒÓ, Ë ÈÛfiÙËÙ· ÙˆÓ Ê‡ÏˆÓ, Ë ÂÚ›ı·Ï„Ë ÙˆÓ ·ÛıÂÓÒÓ Ì Aids Î·È Ô
¤ÏÂÁ¯Ô˜ Ù˘ ÓfiÛÔ˘, Ò˜ ÌÔÚԇ̠ӷ ·Û¯ÔÏËıԇ̠̠ÔÔÈÔ‰‹ÔÙ ·fi ·˘Ù¿ ¯ˆÚ›˜ Ó· Û˘ÌÂÚÈÏ¿‚Ô˘Ì ÙÔ ÓÂÚfi; ∏ Ù·ÈÓ›· «¶ÚÒÙ· ÙÔ ÓÂÚfi» ·ÚÔ˘ÛÈ¿˙ÂÈ Ò˜ ÙÔ ÓÂÚfi Â›Ó·È ÙÔ ÚÒÙÔ Û˘ÛÙ·ÙÈÎfi
ÛÙËÓ ·ÓÙÈÌÂÙÒÈÛË ·˘ÙÒÓ Î·È ¿ÏÏˆÓ ıÂÌ¿ÙˆÓ, ̤۷ ·fi ÈÛÙÔڛ˜ ·ÓıÚÒˆÓ Ô˘ ÎÈÓËÌ·ÙÔÁÚ·Ê‹ıËÎ·Ó ÛÙÔ ª·Ï¿Ô˘È Î·È ÙË ¡fiÙÈ· ∞ÊÚÈ΋. ÕÓıÚˆÔÈ Û·Ó ÙÔÓ Charles Banda, ÙÔÓ È‰Ú˘Ù‹ ÌÈ·˜
ÔÚÁ¿ÓˆÛ˘ ÁÈ· ÙÔ ÓÂÚfi, Ô˘ ‰È·Ù›ıÂÙ·È Ó· Âı¿ÓÂÈ ÁÈ· ·˘Ùfi ÙÔ ÛÎÔfi. ∏ ˆÚ·›· ʈÙÔÁÚ·Ê›· Î·È Ë
ϷΈÓÈ΋ ·Ê‹ÁËÛË Î¿ÓÔ˘Ó ·˘Ù‹ ÙË ‚Ú·‚Â˘Ì¤ÓË Ù·ÈÓ›· ¿ÍÈ· ÚÔÛÔ¯‹˜.
When it comes to pressing global issues such as economic and social justice, girls’ education,
gender equality, care of Aids patients and disease control, how can you address any of them
without clean water? "Water First" clearly illustrates how water is the first ingredient in
addressing these and other issues through personal stories of people filmed in Malawi and
South Africa - people such as Charles Banda, the founder of a water organization, who is willing
to die for the cause. Beautiful cinematography and succinct storytelling make this awardwinning film well worth seeing.
140
ECOFILMS
ƒ√¢√™
2005
RODOS
Amy Hart
¡ÂÔ¸ÔÚΤ˙· ÛÎËÓÔı¤Ù˘. ∞˘Ù‹ ÙËÓ ÂÚ›Ô‰Ô ·Û¯ÔÏÂ›Ù·È Ì ÙËÓ ·Ú·ÁˆÁ‹ ÌÈ·˜ ÌÂÁ¿ÏÔ˘ Ì‹ÎÔ˘˜ Ù·ÈÓ›·˜ Ì ı¤Ì·
ÙÔ ÓÂÚfi ÛÙËÓ ∞ÊÚÈ΋. ∂ÎÙfi˜ ·fi ÙËÓ ·Ú·ÁˆÁ‹ ·ÓÂÍ¿ÚÙËÙˆÓ Ù·ÈÓÈÒÓ, ·Û¯ÔÏÂ›Ù·È Â›Û˘ Ì ÙËÓ ·Ú·ÁˆÁ‹
ÙÚÈÒÓ ÙËÏÂÔÙÈÎÒÓ ÛÂÈÚÒÓ Ì ı¤Ì·Ù· ‰ËÌfiÛÈ·˜ ˘Á›·˜ ÁÈ· ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ÛÙÔ ŸÏÌ·ÓÈ. ∏ Amy Hart ÂÚÁ·˙fiÙ·Ó
ÁÈ· ÙË Miramax Films, ÙË Fine Line Features Î·È ÙË New Line Cinema ÚÈÓ È‰Ú‡ÛÂÈ ÙË ‰È΋ Ù˘ ÂÙ·ÈÚ›·, Hart
Productions.
New York-based filmmaker. Currently she works on a production of a feature length film on water issues in
Africa. In addition to indie filmmaking, she also produces three national TV series on public health issues for
the University at Albany. Amy Hart worked at Miramax Films, Fine Line Features and New Line Cinema before
starting her own film company, Hart Productions.
Amy Hart
HART PRODUCTIONS
PO Box 220
East Greenbush, NY 12061
USA
Tel: +1-518-221-0163
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2006 Water First
2003 T2B2
Center For Public Health
™˘ÌÌÂÙÔ¯‹
Û ºÂÛÙÈ‚¿Ï-¶ÚÔ‚ÔϤ˜
Festival-Screenings
World Water Forum – Water and Film Fest
Mexico City – 2nd Jury Award
African Consortium - University at Albany,
NY
World Health Day – School of Public Health
Exposed Gallery – Delmar, NY
H Amy Hart ÁÈ· ÙËÓ Ù·ÈÓ›· Ù˘
Amy Hart about her film
ŸÙ·Ó ·Ú¯Èο ÂӉȷʤÚıËη Ó· ·Û¯ÔÏËıÒ ÌÂ
ÙÔ ı¤Ì· ÓÂÚfi, Ë È‰¤· ÌÂ Û˘ÓÂ‹ÚÂ, ˘¿Ú¯Ô˘Ó
ÙfiÛ· ÔÏÏ¿ Ô˘ ÌÔÚ› Ó· ÂÈ Î·Ó›˜, ÌÈ·˜ ηÈ
ÙÔ ÓÂÚfi Û¯ÂÙ›˙ÂÙ·È Ì ٷ ¿ÓÙ·… ∆fiÙ ηٿϷ‚· fiÙÈ ·˘Ù‹ Â›Ó·È Ë ÈÛÙÔÚ›· Ô˘ Ú¤ÂÈ Ó· ·ÊËÁËıÒ, fiÙÈ ÙÔ ÓÂÚfi Û¯ÂÙ›˙ÂÙ·È Ì ٷ ¿ÓÙ·, Î·È fiÙÈ ·Ó ‰ÂÓ ÙÔ ‚¿ÏÔ˘Ì ÛÙËÓ ÎÔÚ˘Ê‹ ÙˆÓ ÚÔÙÂÚ·ÈÔÙ‹ÙˆÓ Ì·˜, Ù· ÚÔ‚Ï‹Ì·Ù· ı· Û˘Ó¯›ÛÔ˘Ó Ó· ·Ó·Ù‡ÛÛÔÓÙ·È ÚÔ˜ οı ηÙ‡ı˘ÓÛË. À¿Ú¯Ô˘Ó χÛÂȘ, Î·È ›Ûˆ˜ ÁÈ’ ·˘Ùfi Î·È Ô
Charles Banda ‰Â›¯ÓÂÈ ÙfiÛÔ ·ÔÊ·ÛÈṲ̂ÓÔ˜ ÛÂ
·˘Ù‹ ÙËÓ Ù·ÈÓ›·. °È·Ù› fiÙ·Ó Î¿ÔÈÔ˜ ÈÛÙ‡ÂÈ fiÙÈ
ÌÔÚ› Ó· ·ÏÏ¿ÍÂÈ Î¿ÙÈ Î·È Î¿ÓÂÈ Ù· ·Ó·Áη›·
‚‹Ì·Ù· ÚÔ˜ ·˘Ù‹ ÙËÓ Î·Ù‡ı˘ÓÛË, Ë ·ÏÏ·Á‹
ÚÔ˜ ÙÔ Î·Ï‡ÙÂÚÔ ‰ÂÓ Â›Ó·È ·ÏÒ˜ ‰˘Ó·Ù‹, Â›Ó·È ·Ó·fiÊ¢ÎÙË.
When I first became interested in doing a
project about water I felt overwhelmed –
there’s so much to the story, it relates to
everything…then I realized that that was the
story: that water relates to everything, and
until and unless we put it at the top of our list
of priorities, the problems will continue to
grow in every direction. There are solutions,
and maybe that’s why Charles Banda became
so pivotal in this film – because when one
person believes he can make a difference, and
actually takes the steps to do so, positive
change is not only possible, but inevitable.
ECOFILMS
ƒ√¢√™
2005
RODOS
141
¡∂ƒ√, ∞°∞¶∏ ª√À
EAU MON AMOUR / WATER, MY LOVE
°·ÏÏ›· France, 2006
¢È¿ÚÎÂÈ· Running time: 10’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Francois Morgant
NMC Videoplanning
8 Rue Myrha
75018 Paris
France
Tel: +33 153414166
Fax: +33 153414163
Email: [email protected]
™ÎËÓÔı¤Ù˘ Director: Pascal Fellous
∫¿ÌÂÚ· Camera: Roland Mouron
∂ȉÈο ∂ʤ Special ∂ffects:
Jean Jacques Lonni
ªÔÓÙ¿˙ Edit: Anny Danché
¶·Ú·ÁˆÁfi˜ Producer: François Morgant
™‡ÓÔ„ËSynopsis
∆È Û˘Ì‚·›ÓÂÈ ·ÓÔ›ÁÔÓÙ·˜ ·ÏÒ˜ ÙË ‚Ú‡ÛË ÁÈ· Ó· ÙÚ¤ÍÂÈ Î·ı·Úfi ÓÂÚfi;
Œ¯ÔÓÙ·˜ ÁÈ· Ô‰ËÁÔ‡˜ Ì˯·ÓÈÎÔ‡˜, ÔÏÈÙÈÎÔ‡˜, ¤Ó·Ó ÈÛÙÔÚÈÎfi, ¤Ó· ÛËÌÂÈÔÏfiÁÔ Î·È ¤Ó·Ó ÔÈËÙ‹ ·fi ÙÔ ∆Û·ÓÙ, Ô ı·ً˜ ·˘Ù‹˜ Ù˘ Ù·ÈÓ›·˜ ÚÔÙÚ¤ÂÙ·È Ó· ‚Ô˘Ù‹ÍÂÈ Î·È Ó· ·Ó·Î·Ï‡„ÂÈ ÙÔ ÂÍ‹˜ ı·‡Ì·: Ò˜ ÌÔÚ›˜ Ó· ¤¯ÂȘ ηı·Úfi ÓÂÚfi 24 ÒÚ˜ ÙÔ ÂÈÎÔÛÈÙÂÙÚ¿ˆÚÔ. ¶ÚˆÙ·ÁˆÓÈÛÙ› Ë ·ÁÎfiÛÌÈ·
ÚˆÙ·ıÏ‹ÙÚÈ· Î·È ÔÏ˘ÌÈÔӛ΢ ÛÙËÓ ÎÔχ̂ËÛË Solène Figuès.
What goes into the simple gesture of turning on the tap to get clean water?
Guided by engineers, politicians, an historian, a semiologist and a Tchadian poet, the spectator
of this film is encouraged to dive in and discover this miracle: how you can have clean water 24
hours a day. Featuring the world champion and Olympic medallist in swimming, Solène Figuès.
142
ECOFILMS
ƒ√¢√™
2005
RODOS
Pascal Fellous
™¯Â‰È·ÛÙ‹˜ Î·È ÛÎËÓÔı¤Ù˘. °ÂÓÓ‹ıËΠÙÔ 1958 ÛÙÔ ¶·Ú›ÛÈ. ™Ô‡‰·Û ıÂÙÈΤ˜ ÂÈÛً̘. ∆ÈÌ‹ıËΠ̠‚Ú·‚›·
ÛÙË °·ÏÏ›· Î·È ‰ÈÂıÓÒ˜.
Conceptor and Film director. Born in 1958 Paris, science studies. He gained many awards in France and
internationally.
Pascal Fellous
8 Rue Myrha
75018 Paris
France
Tel: +33 153414166
Fax: +33 153414163
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2004 40 years of shared values
The citizen children
2003 Material
Anticipation breath
Carré Sénart
2001 The lift
Paul Cigale and Louise Fourmi
√ Pascal Fellous
ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Pascal Fellous
about his film
™ÙȘ ·Ú¯¤˜ ÙÔ˘ ÂÈÎÔÛÙÔ‡ ·ÈÒÓ·, Ù· ‰ËÌÔÙÈο
Û˘Ì‚Ô‡ÏÈ· ÛÙ· ÚÔ¿ÛÙÈ· ÙÔ˘ ¶·ÚÈÛÈÔ‡ ¤ÚÂ ӷ ÂÓˆıÔ‡Ó ÁÈ· Ó· ·ÓÙÈÛÙ·ıÌ›ÛÔ˘Ó ÙËÓ ·˘Í·ÓfiÌÂÓË ‰‡Ó·ÌË Ù˘ fiÏ˘ ÙÔ˘ ¶·ÚÈÛÈÔ‡.
¢ËÌÈÔ˘ÚÁ‹ıËΠÙÔ SEDIF, Î·È Ë ÂÚÈÔ¯‹ ÙÔ˘
ÌÂÁ·Ï‡ÙÂÚÔ˘ ‰ËÌÔÙÈÎÔ‡ Û˘Ì‚Ô‡ÏÈÔ˘ ÙÔ˘ ¶·ÚÈÛÈÔ‡ ÌfiÚÂÛ ÎÈ ·˘Ù‹ Ó· ÂÊԉȷÛÙ› Ì ηı·Úfi ÓÂÚfi. ™‹ÌÂÚ· Ì ÙËÓ ›‰È· ÊÈÏÔÛÔÊ›·
‚ÔËıÔ‡ÓÙ·È ¿ÓıÚˆÔÈ ÛÙËÓ ∞Û›· Î·È ÙËÓ
∞ÊÚÈ΋. ¶ÏËÚÒÓÔÓÙ·˜ ÁÈ· ÙÔ ÓÂÚfi ÙÔ˘, οıÂ
ÂÏ¿Ù˘ ÙÔ˘ SEDIF Û˘Ì‚¿ÏÏÂÈ Û ·˘Ùfi.
ƒÒÙËÛ· ‰È¿ÊÔÚÔ˘˜ ÂÌÂÈÚÔÁÓÒÌÔÓ˜ Û¯ÂÙÈο
Ì ÙËÓ ÚÔÛˆÈ΋ ÙÔ˘˜ ¿Ô„Ë ÁÈ· ÙÔ ı¤Ì·.
ŒÂÈÙ· ¿Ú¯ÈÛ· Ó· „¿¯Óˆ ¤Ó· ¯·Ú·ÎÙ‹Ú· Ô˘
ı· ÌÔÚÔ‡Û ӷ ‰ÒÛÂÈ Û¿Úη Î·È ÔÛÙ¿ ÛÙÔ ÓÂÚfi. ∏ Solenne Figuès, °·ÏÏ›‰· ·ÁÎfiÛÌÈ·
ÚˆÙ·ıÏ‹ÙÚÈ· ÛÙËÓ ÎÔχ̂ËÛË Ù·›ÚÈ·˙ ·fiÏ˘Ù·: ÂÎÊÚ¿˙ÂÈ ‰‡Ó·ÌË, ¢ıÚ·˘ÛÙfiÙËÙ·, Ù·¯‡ÙËÙ· Î·È ËÚÂÌ›·, fiÏ· Ù·˘ÙÔ¯ÚfiÓˆ˜. ÿÛˆ˜ Ë ·fiÏ˘ÙË ÂÌÙÔ˘Û›· ÙÔ˘ ÓÂÚÔ‡;
Earlier in the 20th century, councils in the
outskirts of Paris had to unite into
counterbalancing Paris overwhelming power.
The SEDIF took shape and Greater Paris
council could get a clean water supply too.
Today this philosophy goes on to help people
in Asia and Africa. Paying for his own water,
each SEDIF customer contributes for it.
I questioned various experts on their own
vision of this issue. Once I interviewed them, I
started looking for a character that would best
embody water.
Solenne Figuès, French Swimming world
champion was the perfect fit: she expresses
power, fragility, speed and serenity all at the
same time. Perhaps the absolute and
quintessential water?
ECOFILMS
ƒ√¢√™
2005
RODOS
143
∂ƒ°∞ °π∞ TO ¡∂ƒ√ ™∆∏¡ π¡¢π∞: ∆∂™™∂ƒ∂π™
ª∏Ã∞¡π∫√π ∫∞π ∂¡∞™ ¢πAÃ∂πƒπ™∆∏™
WATERWORKS IN INDIA:
FOUR ENGINEERS AND A MANAGER
πÓ‰›· India, 1998
¢È¿ÚÎÂÈ· Running time: 22’
¶·ÁÎfiÛÌÈ· ÂÎÌÂÙ¿ÏÏ¢ÛË
World sales
Ashwini Sinha
Centre for Science and Environment
41, Tughlakabad Institutional Area
New Delhi – 110062
India
Tel: +9868051397/91-11-2995 6399/3394
Fax 91-11-2995 5879
Email: [email protected],
[email protected]
∂ÎÙ¤ÏÂÛË ¶·Ú·ÁˆÁ‹˜, ™ÎËÓÔı¤Ù˘
Executive Producer, Director:
Pradip Saha
∫¿ÌÂÚ· Camera: Ranu Ghosh
™ÂÓ¿ÚÈÔ Script: Sopan Joshi
∞Ê‹ÁËÛË Narration:
Madhusudan Srinivasan
°Ú·ÊÈο Graphics: Vineet Bakshi
™‡ÓÔ„ËSynopsis
∞˘Ùfi ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú ‰È¿ÚÎÂÈ·˜ ›ÎÔÛÈ ‰‡Ô ÏÂÙÒÓ ·ÚÔ˘ÛÈ¿˙ÂÈ ÛÙÔ ÎÔÈÓfi ¤ÓÙ ·Ê·Ó›˜ ·ÓıÚÒÔ˘˜,
Ô˘ ¤¯Ô˘Ó ‰È·ÛÒÛÂÈ ÙËÓ ÔχÏÔÎË ·Ú·‰ÔÛȷ΋ ÂÈÛÙ‹ÌË Ù˘ ‰È·¯Â›ÚÈÛ˘ ÙˆÓ ˘‰¿ÙˆÓ ·fi ÙËÓ ÂÈÛ‚ÔÏ‹ Ù˘ Û‡Á¯ÚÔÓ˘ ÂÔ¯‹˜. ∆¤ÛÛÂÚÂȘ ·fi ·˘ÙÔ‡˜ ÙÔ˘˜ Ì˯·ÓÈÎÔ‡˜ Â›Ó·È ÔÈ Chewang Norphel’s
zings ·fi ÙÔ §·ÓÙ¿Î, Magga Ram Suthar’s Beris ·fi ÙÔ ƒ·Ù˙·ÛÙ¿Ó, Ran Singh’s Kundis ·fi ÙÔ ∫Ô˘ÚÔ‡
Ù˘ ÂÚÈÔ¯‹˜ ÙÔ˘ ƒ·Ù˙·ÛÙ¿Ó, Î·È Ô Kunhikannan Nair’s Surangam ·fi ÙÔ ∆·Ì›Ï ¡·ÓÙÔ‡ fiˆ˜ Â›Û˘
Î·È Ô Ganesan ·fi ÙËÓ ∫ÂÚ¿Ï·, ¤Ó·˜ Neerkati (‰È·¯ÂÈÚÈÛÙ‹˜ ˘‰¿ÙÈÓˆÓ fiÚˆÓ). ∆Ô ÓÙÔÎÈÌ·ÓÙ¤Ú ·ÚÔ˘ÛÈ¿˙ÂÈ ÛÙÔ ÎÔÈÓfi ÙËÓ Ù¯ÓÈ΋ ·ÏÏ¿ Î·È ÙȘ Ú·ÎÙÈΤ˜ ÎÔÈÓˆÓÈ΋˜ ‰È·¯Â›ÚËÛ˘ Ô˘ ÙË ‰È¤Ô˘Ó.
This 22 minute documentary takes viewers to meet five invisible people, who have kept the intricate
traditional science of water management alive from the modern onslaught. Four of them are
engineers – Chewang Norphel’s zings from Ladakh, Magga Ram Suthar’s Beris from Rajasthan, Ran
Singh’s Kundis from Churu district of Rajasthan, and Kunhikannan Nair’s Surangam from Tamil Nadu;
and a Neerkati (water manager) Ganesan from Kerala. The documentary introduces the viewers with
the technique as well as the social management practices governing it.
144
ECOFILMS
ƒ√¢√™
2005
RODOS
Pradip Saha
°ÂÓÓ‹ıËΠÙÔ 1960. ™Ô‡‰·Û ÔÈÎÔÓÔÌÈο, ÂÚÁ¿ÛÙËΠ΢ڛˆ˜ ÛÙ· ÔÙÈο ̤۷ ÂÓË̤ڈÛ˘, ˆ˜ ۯ‰ȷÛÙ‹˜
ÁÚ·Ê›ÛÙ·˜ ̤¯ÚÈ ÙÔ 2002, fiÔ˘ ¤ÁÈÓ ‰È¢ı˘ÓÙ‹˜ Û‡ÓÙ·Í˘ ÙÔ˘ ÂÚÈÔ‰ÈÎÔ‡ "Down To Earth". ∂ÚÁ¿ÛÙËΠ΢ڛˆ˜
ÛÙÔÓ ÙÔ̤· ÎÔÈÓˆÓÈ΋˜ ÂÈÎÔÈÓˆÓ›·˜, ˘‹ÚÍÂ Û˘ÓÙ¿ÎÙ˘ ʈÙÔÁÚ·ÊÈÒÓ ÛÙÔ "Down To Earth", ηÏÏÈÙ¯ÓÈÎfi˜
‰È¢ı˘ÓÙ‹˜ ÙÔ˘ ∫¤ÓÙÚÔ˘ ∂ÈÛÙ‹Ì˘ Î·È ¶ÂÚÈ‚¿ÏÏÔÓÙÔ˜. ŒÎ·Ó ‚›ÓÙÂÔ Ì ÂÚÈ‚·ÏÏÔÓÙÈο Î·È ·Ó·Ù˘Íȷο
ı¤Ì·Ù· Ì ȉȷ›ÙÂÚË ÂÛÙ›·ÛË ÛÙÔ ı¤Ì· ÙÔ˘ ÓÂÚÔ‡. Œ¯ÂÈ ÂÈÌÂÏËı› ÂÎı¤ÛÂˆÓ Ì ı¤Ì· ÙÔ ÓÂÚfi ÌÂٷ͇ ¿ÏÏˆÓ ÛÙÔ
¶·ÁÎfiÛÌÈÔ ºfiÚÔ˘Ì 2 ÁÈ· ÙÔ ÓÂÚfi ÛÙË Ã¿ÁË.
Born in 1960. Graduate of Economics, worked mostly on visual media, as photographer, graphic designer till
2002, when he became the Managing Editor of Down To Earth. Mostly worked in the area of social
communication, has been the photo editor of Down To Earth, Art Director of Centre for Science and
Environment. Made videos on issues of environment and development with a special focus on water issues.
Has designed exhibitions on water among others in World Water Forum 2 in The Hague.
Pradip Saha
Centre for Science and Environment
41, Tughlakabad Institutional Area
New Delhi – 110062
India
Tel: +9810197014 / 91-11-2995 6399/3394
Fax: +91-11-2995 5879
Email: [email protected]
ºÈÏÌÔÁÚ·Ê›· Filmography
2005 The Rain Catchers: a practical guide to
solve your water problems
2003 Rainwater Harvesting: Public Service
Advertisement
2000 Bandits and the Backhanders
Arvari: The Miracle River
1998 Waterworks India: Four Engineers
and a Manager
Smog Inc
Life Under Wildlife
Spirits of Forest
√ Pradip Saha ÁÈ· ÙËÓ Ù·ÈÓ›· ÙÔ˘
Pradip Saha about his film
∏ Û˘ÁΤÓÙÚˆÛË fiÌ‚ÚÈˆÓ ˘‰¿ÙˆÓ ‰ÂÓ ·ÔÙÂÏ› ÌfiÓÔ ·ÊÂÙËÚ›· ÁÈ· Ó· ÁÓˆÚ›ÛÔ˘Ì ÙËÓ ¤ÏÏÂÈ„Ë fiÛÈÌÔ˘ ÓÂÚÔ‡. ™ÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· Â›Ó·È Ë ·Ú¯‹ ÌÈ·˜ ÚÔÛ¿ıÂÈ·˜ Ó· ÍÂÚÈ˙ˆı› Ë
ÊÙÒ¯ÂÈ· ·fi ÙËÓ ‡·ÈıÚÔ, Ó· ‰ËÌÈÔ˘ÚÁËı› ·ÁÚÔÙÈ΋ ··Û¯fiÏËÛË Î·È Ó· ÌÂȈı› Ô Î›Ó‰˘ÓÔ˜ ÌÂÙ·Ó¿ÛÙ¢Û˘ ·fi ÙËÓ ‡·ÈıÚÔ ÛÙȘ ·ÛÙÈΤ˜ ÂÚÈÔ¯¤˜. ∏ Ù·ÈÓ›· ·ÚÔ˘ÛÈ¿˙ÂÈ ÙËÓ È‰ÈÔÊ˘›· ¤ÓÙ ·ÏÒÓ ·ÓıÚÒˆÓ Ô˘ ˘ÔÛÙËÚ›˙Ô˘Ó ÙËÓ ·Ú·¿Óˆ ı¤ÛË. ∞˘ÙÔ› ÔÈ ¤ÓÙ ¿ÓıÚˆÔÈ, ÙÔ˘˜ ÔÔ›Ô˘˜ ÔÓÔÌ¿˙ˆ ·Ê·Ó›˜ Ì˯·ÓÈÎÔ‡˜ Ù˘ ˘·›ıÚÔ˘, ¤¯Ô˘Ó ·Ú·ÁΈÓÈÛÙ› ·fi ÙËÓ ÂÈÛ‚ÔÏ‹ Ù˘ Û‡Á¯ÚÔÓ˘ ÂÔ¯‹˜. ™Â ÌÈ·
ÂÔ¯‹, Ô˘ ÂÓÙ›ÓÂÙ·È ÙÔ ¿Á¯Ô˜ ÁÈ· ÙÔ ÓÂÚfi ÙfiÛÔ ÛÙËÓ ‡·ÈıÚÔ fiÛÔ Î·È ÛÙȘ ·ÛÙÈΤ˜ ÂÚÈÔ¯¤˜
Ù˘ πÓ‰›·˜, ·Í›˙ÂÈ Ú·ÁÌ·ÙÈο Ó· Á›ÓÔ˘Ó ·Ú¿‰ÂÈÁÌ· ÚÔ˜ Ì›ÌËÛË Î·È Ó· ‰È·‰ÔıÔ‡Ó ÙÔ
Ó‡̷, Ë Ù¤¯ÓË, Ë Ì˯·ÓÔÏÔÁ›· Î·È ÔÈ ‰È·¯ÂÈÚÈÛÙÈΤ˜ ÈηÓfiÙËÙ˜ ·˘ÙÒÓ ÙˆÓ «Í˘fiÏËÙˆÓ» ËÚÒˆÓ.
Rainwater harvesting is not just the starting
point for meeting drinking water needs. It is in
fact the starting point of an effort to eradicate
rural poverty, generate rural employment and
reduce distress migration from the rural areas
to the urban areas. The film profiles the
genius of five ordinary people to support the
above viewpoint. These five people, whom I
call invisible rural engineers, have been
elbowed out by the modern onslaught. At a
time, when there is so much of water stress
building up both in rural and urban India, the
spirit, the art, the engineering and
management skills of these barefoot heroes
are truly worth emulating and propagating.
ECOFILMS
ƒ√¢√™
2005
RODOS
145
¶·ÓfiÚ·Ì·
Panorama
148
10K TO BELARUS
34 TA•π
154
MIMETOLITHS
34 TAXI
∞À™∆ƒ∞§π∞¡∂™ ∞∆√ªπ∫∂™
∂•√ª√§√°∏™∂π™
AUSTRALIAN ATOMIC CONFESSIONS
149
¡∞∫∞§∞
¡AKKALA
155
∆√ ∞πª∞ ∆√À ∞¢∂ƒº√À ª√À
∂¡∞¡∆π∞ ™∆∏¡ ∆π°ƒ∏
CONFLICT TIGER
™∆√ ¢ƒ√ª√
√π °π°∞¡∆π∞π√π µ√À¢∂™
ON THE WAY
THE GIANT BUDDHAS
æ∞ƒ∞¢∂™
∆∏™ §πª¡√£∞§∞™™∞™
156
UNSER TÄGLICH BROT / OUR DAILY BREAD
THE PAINTING
∏ √ª√ƒºπ∞ ∆√À ªπ∫ƒ√À
IS SMALL STILL BEAUTIFUL
¶∞∆ƒ√∫§√™ ∫∞ƒ∞¡∆π¡√™
"ECCE HOMO MODERNO"
JAN SCHOONHOVEN-∆∞ÃÀ¢ƒ√ªπ∫√™
À¶∞§§∏§√™ 18977
PATROKLOS KARADINOS
"ECCE HOMO MODERNO"
JAN SCHOONHOVEN-OFFICIAL 18977
157
∏ ¶√§π∆π∫∏ ∆∏™ ∂À∆ÀÃπ∞™
∞¶§∞ ∂¡∞ ¶∞πáπ¢π
THE POLITICS OF HAPPINESS
JUST A GAME
¶ƒπ¶π∞∆
∫∞ƒ¶∞£√™, •∂∫§∂π¢ø¡√¡∆∞™ ªÀ™∆π∫∞
ª∂ ∆∞ ª∞∆π∞ ∆∏™ æÀÃ∏™
PRIPYAT
KARPATHOS, UNLOCK SECRETS
THROUGH THE EYES OF THE SOUL
THE REAL DIRT ON FARMER JOHN
∆√ ¶∏¢∏ª∞ ∆√À ∫∞∆™∞¡∆ø¡∏
∫∞π √ ª¶∞ƒª¶∞ §∞ª¶ƒ√™
√𠵃√ªπ∂™ ∆√À ∞°ƒ√∆∏ ∆∑√¡
158
DIM / THE SMOKE
L’ HISTOIRE NATURELLE D’ ARMAND DAVID
THE STORY OF ARMAND DAVID
∫∏ºπ™™√™, ¶ƒ√™∫∞πƒ∏ ¡∞ƒ∫∏
KIFISSOS, A GOD’S AWAKENING
∆∞∫∏™ ∑∂¡∂∆√™ «∆√ ™∆ƒ√°°À§√,
∆√ ∫∆πƒπ√ ¶√À ∂¶∂™∂ ™∆∏ °∏»
∫§∂ø¡ ∫ƒ∞¡∆√¡∂§§∏™
«∏ ª∂™√°∂π∞∫∏ ∞π£ƒπ∞
∫∞π √ ∏§∂∫∆ƒπ∫√™ §∂µπ∞£∞¡»
KLEON KRANTONELLIS
"THE MEDITERRANEAN ATRIUM
AND THE ELECTRICAL LEVIATHAN"
√ ∫∞¶¡√™
∏ π™∆√ƒπ∞ ∆√À ∞ƒª∞¡∆ ¡∆∞µπ¡∆
KATSANTONIS' LEAP AND UNCLE LAMBROS
153
√ ∞ƒ∆√™ ∏ªø¡ √ ∂¶π√À™π√™
√ ¶π¡∞∫∞™
IN THE LAGOON
152
NOT INTENT ON ARRIVING
EL VIEJO Y JESUS: PROPHETAS DE REBELION
THE OLD MAN AND JESUS:
PROPHETS OF REBELLION
BOOMTOWN SHANGHAI
151
™∏ª∞™π∞ ∂Ã∂π ∆√ ∆∞•π¢π
√ °∂ƒ√™ ∫π √ Ã∂™√À™:
¶ƒ√º∏∆∂™ ∆∏™ ∂¶∞¡∞™∆∞™∏™
THE BLOOD OF MY BROTHER
∞¡∞¶∆À•π∞∫∏ ∂∫ƒ∏•∏ ™∆∏ ™∞¡°∫∞∏
150
THE LONG HALL
ªπª∂∆√§π£√π
TAKIS ZENETOS "THE ROUND,
THE BUILDING THAT FELL ON EARTH"
159
ME TA ¢π∫∞ ∆√À™ ª∞∆π∞
THROUGH THEIR OWN EYES
∆π£√ƒ∂∞-§π∞¡√∫§∞¢π
∏ °¡ø™∏ ∆∏™ π∞™∏™
TITHOREA-LIANOKLADI
DAS WISSEN VOª HEILEN
THE KNOWLEDGE OF HEALING
øƒ∞ √¡∂πƒ√À
KOYƒ™∞§
KOURSAL
TRAUMZEIT / DREAMTIME
160
∆ƒπ∫∞§π¡∞ ∆√¶π∞
TRIKALEAN LANDSCAPES
º∂À°øª∂¡ ¢∏ ºπ§∏¡
∂™ ¶∞∆ƒπ¢∞
∂∫∆√™ ™Ã∂¢π√À
LET US FLEE THEN
TO THE BELOVED FATHERLAND
∏º∞π™∆∂π√
UNPLANNED
VOLCANO
161
∆∞´∑√Àª∂ ∆√¡ ∫√™ª√
WE FEED THE WORLD
34 TA•π
∞À™∆ƒ∞§π∞¡∂™ ∞∆√ªπ∫∂™
∂•√ª√§√°∏™∂π™
10K TO BELARUS
34 TAXI
AUSTRALIAN ATOMIC
CONFESSIONS
πÚÏ·Ó‰›· Ireland, 2005
¢È¿ÚÎÂÈ· Running time: 52’
™ÎËÓÔı¤Ù˘ Director: Frank Berry
∆Ô˘ÚΛ· Turkey, 2005
¢È¿ÚÎÂÈ· Running time: 51’ 11’’
™ÎËÓÔı¤Ù˘ Director: Belmin Soylemez
∞˘ÛÙÚ·Ï›· Australia, 2005
¢È¿ÚÎÂÈ· Running time: 50’
™ÎËÓÔı¤Ù˘ Director: Creg Young, Kathy Aigner
∏ Ù·ÈÓ›· "10k to Belarus" Â›Ó·È ¤Ó· ÓÙÔÎÈÌ·ÓÙ¤Ú Ô˘ ·ÎÔÏÔ˘ı› ÙÔ Ù·Í›‰È ÌÈ·˜ ÔÌ¿‰·˜ πÚÏ·Ó‰ÒÓ ÊÔÈÙËÙÒÓ ÛÙË
§Â˘ÎÔÚˆÛ›· ÌÂÙ¿ ÙÔ ∆Û¤ÚÓÔÌÈÏ. √È ÊÔÈÙËÙ¤˜ Ì ¯·Ú¿
‰È·ÈÛÙÒÓÔ˘Ó ˆ˜ Ë Ú·ÁÌ·ÙÈÎfiÙËÙ· ÛÙË §Â˘ÎÔÚˆÛ›·
‰ÂÓ Â›Ó·È ·˘Ù‹ Ô˘ ÙÔ˘˜ ·ÚÔ˘ÛÈ·˙fiÙ·Ó Û˘Ó‹ıˆ˜ ·fi
Ù· ªª∂.
ªÈ· ÌÂٷΛÓËÛË Ì ٷ͛ ÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË ‰ÂÓ
Â›Ó·È ÌfiÓÔ Ë ¿ÊÈÍË ÛÙÔÓ ÚÔÔÚÈÛÌfi. ∂›Ó·È Â›Û˘ ¤Ó·
Ù·Í›‰È Ô˘ ͉ÈÏÒÓÂÈ Ù· ¯·Ú·ÎÙËÚÈÛÙÈο ÌÈ·˜ ÌÂÁ·ÏÔ‡ÔÏ˘ Ô˘ ‚Ú›ÛÎÂÙ·È ·Ó¿ÌÂÛ· ÛÙËÓ ∂˘ÚÒË Î·È
ÙËÓ ∞Û›·. √ Ô‰ËÁfi˜ ÎÈ Ô ÂÈ‚¿Ù˘ Ù·ÍÈ‰Â‡Ô˘Ó Ì¤Û· ·fi
‰È·ÊÔÚÂÙÈο Â›‰· ÔÏÈÙÈÛÌÔ‡ ·˘Ù‹˜ Ù˘ ¯·Ò‰Ô˘˜
fiÏ˘ ÂÓÒ ·ÓÙ·ÏÏ¿ÛÔ˘Ó ·fi„ÂȘ ÁÈ· ÙË ˙ˆ‹ ÛÙËÓ
∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ∆· Ù·Í› Â›Ó·È ÔÏÈÙÈÛÙÈο Ô¯‹Ì·Ù·
Ô˘ ·ÓÙ·Ó·ÎÏÔ‡Ó ÙËÓ ÔÈÎÈÏ›· ÙÔ˘ ÙÔ˘ÚÎÈÎÔ‡ ÔÏÈÙÈÛÌÔ‡ Î·È ÙÔ Ò˜ ·˘Ùfi˜ ÂÎÊÚ¿˙ÂÙ·È.
°˘ÚÈṲ̂ÓË Î˘Ú›ˆ˜ Û ÌÂÙ·‚¿ÛÂȘ Ì ٷ͛ ηٿ ÙËÓ Ë̤ڷ, Ë Ù·ÈÓ›· ‚·Û›˙ÂÙ·È ÛÙȘ Û˘ÓÔÌÈϛ˜ ÙˆÓ Ô‰ËÁÒÓ ÌÂ
ÙÔ˘˜ ÂÈ‚¿Ù˜ ÙÔ˘˜ ÂÚ› ıÂÌ¿ÙˆÓ fiˆ˜ Ë ÌÂÙ·Ó¿ÛÙ¢ÛË, Ë ·ÛÙÈ΋ Û‹„Ë, Ô ÓfiÌÔ˜ Î·È Ë Ù¿ÍË, Ë ıÚËÛΛ·, ÔÈ
¿ÓÙÚ˜ ÎÈ ÔÈ Á˘Ó·›Î˜, Ë ∞Ó·ÙÔÏ‹ ÎÈ Ë ¢‡ÛË.
ŒÓ· ηıËψÙÈÎfi ÓÙÔÎÈÌ·ÓÙ¤Ú ÁÈ· ÙȘ 12 ‚ÚÂÙ·ÓÈΤ˜ ‰ÔÎÈ̤˜ ·ÙÔÌÈ΋˜ ‚fiÌ‚·˜ ÛÙËÓ ∞˘ÛÙÚ·Ï›·, ÙËÓ Ú·‰ÈÂÓÂÚÁ‹ ÛÎfiÓË Ô˘ ‰ËÌÈÔ˘ÚÁ‹ıËÎÂ, Ù· ˘ÚËÓÈο ·fi‚ÏËÙ·
Î·È ÙÔÓ ˘ÚËÓÈÎfi ·ÓÙȉڷÛÙ‹Ú·. ∞ÔÎ·Ï˘ÙÈΤ˜ Ì·ÚÙ˘Ú›Â˜ ·˘ÙfiÙˆÓ Ì·ÚÙ‡ÚˆÓ Ô˘ ¤˙ËÛ·Ó ÙË ‚fiÌ‚·:
ÚÒËÓ ‚ÂÙÂÚ¿ÓˆÓ, ∞‚ÔÚÈÁ›ÓˆÓ ÓÔÌ¿‰ˆÓ Ô˘ Â¤˙ËÛ·Ó Î·ıÒ˜ Î·È ÙÔ˘ ¶ÚÔ¤‰ÚÔ˘ Ù˘ ¡fiÙÈ·˜ ∞˘ÛÙÚ·Ï›·˜
Î·È ÂȉÈÎÒÓ. ∫˘‚ÂÚÓËÙÈΤ˜ Û˘Áηχ„ÂȘ, Û˘ÁÎÚÔ‡ÛÂȘ
ÔÏÈÙÈÛÌÒÓ Î·È Ë ÎÏËÚÔÓÔÌÈ¿ Ù˘ Á˘ Î·È ÙˆÓ Ï·ÒÓ…
ªÈ· ÂӉȷʤÚÔ˘Û· ¿Ô„Ë ·ÔηχÙÂÙ·È ·fi ÙÔ˘˜
™ÔÊÔ‡˜ ÙˆÓ ∞‚ÔÚÈÁ›ÓˆÓ Ô˘ ÈÛ¯˘Ú›˙ÔÓÙ·È ˆ˜ «ÙÔ‡ÙÔ
ÙÔ Ô˘Ú¿ÓÈÔ Ì·˜ ·Ó‹ÎÂÈ, Â›Ó·È Ì¤ÚÔ˜ Ù˘ Á˘, ̤ÚÔ˜ ÙÔ˘
√Ó›ÚÔ˘…» Î·È ˆ˜ ·ÈÛı¿ÓÔÓÙ·È ÚÔÛˆÈο ˘‡ı˘ÓÔÈ ÁÈ· ÙÔ ÙÈ ı· Á›ÓÂÈ Ì ·˘Ùfi.
"10K to Belarus" is a documentary charting the
journey of a group of Irish college students to postChernobyl Belarus. The students are pleased to
discover that the reality of Belarus is not what they
have been commonly shown in the media.
∂¶π∫√π¡ø¡π∞ CONTACT
Frank Berry
C/O Grãainne O’Rourke
Media & Arts Production Unit
DIT Rathmines Road, Dublin 6
Ireland
Tel: +353 1 402 7829
Fax: +353 1 402 3487
Email: [email protected]
A taxi ride in Istanbul is not just about reaching one
destination. It is also a journey which unfolds the
characteristics of a big city situated between Europe
and Asia. The driver and the passenger travel through
different cultural layers of the chaotic city while
exchanging opinions about life in Istanbul. Cabs are
social platforms which reflect the diversity of Turkish
culture and its means of expression.
Shot mainly during daily taxi rides, the film is based
on the drivers chatting with their passengers on
questions such as migration, urban decay, law and
order, religion, men and women, east and west.
∂¶π∫√π¡ø¡π∞ CONTACT
Belmin Soylemez
Pk 244 Beyoglu
34431 Istanbul
Turkey
Tel: +90 212 2527255
Email: [email protected],
[email protected]
www.delminsoylemez.com
148
ECOFILMS
ƒ√¢√™
2006
RODOS
A gripping documentary on the 12 British atomic
bomb tests in Australia, the resulting fallout, nuclear
waste and nuclear reactor. Revealing eye-witness
accounts of those who experienced the bomb; atomic
ex-veterans, nomadic Aboriginal survivors also the
Premier of South Australia and experts. Government
cover-ups, the conflict of cultures and the ongoing
legacy to land and people… An interesting aspect is
revealed by Arubunna Aboriginal Elders who say "that
uranium belongs to us, it’s part of the land, part of the
Dreamtime…" and how they feel personally
responsible for what happens with it.
∂¶π∫√π¡ø¡π∞ CONTACT
Kathy Aigner
PO box 7593
Bondi Beach NSW 2026
Australia
Tel: +61422 719 464
Email: [email protected]
www.atomicconfessions.com
∞¡∞¶∆À•π∞∫∏ ∂∫ƒ∏•∏
™∆∏ ™∞¡°∫∞∏
∆√ ∞πª∞ ∆√À ∞¢∂ƒº√À ª√À
BOOMTOWN SHANGHAI
∂¡∞¡∆π∞ ™∆∏¡ ∆π°ƒ∏
THE BLOOD OF MY BROTHER
°ÂÚÌ·Ó›· Germany, 2005
¢È¿ÚÎÂÈ· Running time: 52’
™ÎËÓÔı¤Ù˘ Director: Sophie Hill,
Raimund Kusserow
CONFLICT TIGER
∏ӈ̤ÓÔ µ·Û›ÏÂÈÔ UK, 2005
¢È¿ÚÎÂÈ· Running time: 61’ 30’’
™ÎËÓÔı¤Ù˘ Director: Sasha Snow
∞Ó¿Ù˘ÍË Â›Ó·È ÙÔ Û‡ÓıËÌ· ÛÙËÓ ÈÔ Û‡Á¯ÚÔÓË ÌÂÁ·ÏÔ‡ÔÏË Ù˘ ∫›Ó·˜, ÙËÓ fiÏË Ù˘ ¢ÈÂıÓÔ‡˜ ŒÎıÂÛ˘ ÙÔ˘ 2010.
16 ÂηÙÔÌ̇ÚÈ· ˙Ô˘Ó ÛÙË ™·ÁÎ¿Ë Î·È Î¿ı ¯ÚfiÓÔ Î·Ù·Êı¿ÓÂÈ ¿ÏÏÔ ¤Ó· ÂηÙÔÌ̇ÚÈÔ. ∆· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ· ¿Óˆ
·fi 2.000 „ËÏ¿ ÎÙ›ÚÈ· ¤¯Ô˘Ó ·ÏÏ¿ÍÂÈ ÙËÓ fi„Ë Ù˘ fiÏ˘.
¶ÔÏϤ˜ ·Ú·‰ÔÛȷΤ˜ ÂÚÈÔ¯¤˜ ηÙÔÈÎÈÒÓ ¤¯Ô˘Ó ÂÍ·Ê·ÓÈÛÙ› Û ·˘Ùfi ÙÔ ‰È¿ÛÙËÌ· Î·È Ì·˙› ÙÔ˘˜ Ô ÎÈÓ¤˙ÈÎÔ˜ ÙÚfiÔ˜
˙ˆ‹˜. ∏ Ù·ÈÓ›· ·ÚÔ˘ÛÈ¿˙ÂÈ ÙÔ˘˜ ÂÎÛ˘Á¯ÚÔÓÈÛÙ¤˜ Î·È ÙÔ˘˜
ÂȯÂÈÚË̷ٛ˜, ·ÏÏ¿ Î·È ÙËÓ Î·ıËÌÂÚÈÓ‹ ˙ˆ‹ ÙˆÓ ÓÙfiȈÓ. ∫·Ù¿ ÙË ‰È¿ÚÎÂÈ· ‰˘Ô ÂÙÒÓ Ë ÔÌ¿‰· ÙˆÓ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙÒÓ Ù˘ Ù·ÈÓ›·˜ ·Ú·ÎÔÏÔ‡ıËÛ ÙËÓ ·Ó¿Ù˘ÍË Ù˘
™·ÁοË: ∫ÈÓ¤˙ÔÈ Î·È ∂˘Úˆ·›ÔÈ, Ô˘ „¿¯ÓÔ˘Ó Ô Î·ı¤Ó·˜
ÙËÓ Ù‡¯Ë ÙÔ˘ ·Ó¿ÌÂÛ· ÛÙË ÁÔÚÁ‹ ·ÏÏ·Á‹ Î·È ÙȘ ηıËÌÂÚÈÓ¤˜ ·ÓÙÈı¤ÛÂȘ. ªÔÚ› Ó· Â›Ó·È ÛÙ·ÙÈÛÙÈο ÂÏ¿¯ÈÛÙÔÈ Ì·
ÛÙËÓ Ù·ÈÓ›· Ì·˜ ¤¯Ô˘Ó «ÚˆÙ·ÁˆÓÈÛÙÈÎÔ‡˜ ÚfiÏÔ˘˜» ÛÙÔ
ÌÂÁ·Ï‡ÙÂÚÔ ÂÚÁÔÙ¿ÍÈÔ ÙÔ˘ ÎfiÛÌÔ˘.
™Ù· ‰¿ÛË Ù˘ ·Ó·ÙÔÏÈ΋˜ ƒˆÛ›·˜, ¤Ó·˜ ¿ÂÈÚÔ˜ Î·È ·ÂÚ›ÛÎÂÙÔ˜ Ï·ıÚÔ΢ÓËÁfi˜ ÚÔηÏ› ÌÈ· ÛÂÈÚ¿ ÂÈı¤ÛÂˆÓ Ù›ÁÚÂˆÓ Î·Ù¿ ÙˆÓ ·ÓıÚÒˆÓ. √È ·Ú¯¤˜ ˙ËÙÔ‡Ó
ÙȘ ˘ËÚÂۛ˜ ÙÔ˘ °ÈÔ‡ÚÈ ∆ÚÔ˘˜, ÂÓfi˜ ÂȉÈÎÔ‡ ÛÙÔ Ó·
‚Ú›ÛÎÂÈ Î·È Ó· ÛÎÔÙÒÓÂÈ ÙȘ Ù›ÁÚÂȘ Ô˘ ¤¯Ô˘Ó ¿„ÂÈ Ó·
ÊÔ‚Ô‡ÓÙ·È ÙÔÓ ¿ÓıÚˆÔ. ∏ Ù·ÈÓ›· ¯ÚËÛÈÌÔÔÈ› ÙËÓ ÈÔ
ÂÈΛӉ˘ÓË Î·Ù·‰›ˆÍË «·ÓıÚˆÔÊ¿ÁÔ˘» Ù›ÁÚ˘ ÙÔ˘
°ÈÔ‡ÚÈ ˆ˜ ‚¿ÛË ÁÈ· ¤Ó· ÓÙÔÎÈÌ·ÓÙ¤Ú-ıÚ›ÏÂÚ. ∏ Ù·ÈÓ›·
Û˘Ó‰˘¿˙ÂÈ ‰Ú·Ì·ÙÔÔ›ËÛË Ì ÂÎÏËÎÙÈÎfi ·Ú¯ÂÈ·Îfi ˘ÏÈÎfi Ô˘ ÙÚ¿‚ËÍÂ Ô °ÈÔ‡ÚÈ Î·Ù¿ Ù· ÁÂÁÔÓfiÙ·. ⁄ÛÙÂÚ·
·fi ·˘Ù‹ ÙËÓ ÂÈ΋ Û‡ÁÎÚÔ˘ÛË, Ë Ù·ÈÓ›· ÏÂÈÙÔ˘ÚÁ› ˆ˜
ÌÂÙ·ÊÔÚ¿ Ô˘ ·ÌÊÈÛ‚ËÙ› ÙËÓ Â͈ڷ˚Ṳ̂ÓË ·ÚÔ˘Û›·ÛË Ù˘ Ù›ÁÚ˘ ˆ˜ «ÌÂÁ¿ÏË Á¿Ù·» ·fi ÙË Ê˘ÛÈ΋ ÈÛÙÔÚ›·, ÙÔÔıÂÙÒÓÙ·˜ ÙËÓ ·‚¤‚·ÈË Î·Ù¿ÛÙ·ÛË ÙÔ˘ ˙ÒÔ˘ ·¤Ó·ÓÙÈ ÛÙȘ ÂÈÙ·ÎÙÈΤ˜ ·Ó¿ÁΘ Ù˘ ·ÓıÚÒÈÓ˘
ÂÈ‚›ˆÛ˘.
Growth is the buzzword in the most modern large city in
China, host city for the World Fair in 2010. 16 million
people live in Shanghai and every year another million
arrive to join them. Over the last few years, more than
2,000 tower blocks have changed the face of the city.
Many traditional residential areas have disappeared in
that time – and with them the Chinese way of life. The
film features modernisers and deal-makers, but also the
everyday life of the locals. Over two years the film team
observed the development of Shanghai: Chinese and
Europeans, who are seeking their own fortunes amidst
the rapid change and daily contradictions. They may only
be marginal figures but in our film they have "leading
roles"-on the largest building site in the world.
In the forests of the Russian Far East, an inexperienced
and foolhardy poacher triggers an infamous series of
tiger attacks on people. The authorities call upon the
services of Yuri Trush, a specialist in tracking and
eliminating tigers that have lost their fear of man.
"Conflict Tiger" takes Yuri’s most notorious pursuit of
a "man-eating" tiger as the basis for a documentary
thriller. The film combines dramatic reconstruction
with extraordinary archive footage shot by Yuri
himself as events unfolded. From the aftermath of this
epic confrontation, the film emerges as a parable
which challenges the cosy illusions of the traditional
"big cat" natural history by setting the animal’s
precarious situation against the pressing needs of
human survival.
∏¶∞-πÚ¿Î USA-Iraq, 2005
¢È¿ÚÎÂÈ· Running time: 90’
™ÎËÓÔı¤Ù˘ Director: Andrew Berends
⁄ÛÙÂÚ· ·fi ¯ÚfiÓÈ· ÛÎÏËÚ‹˜ ‰Ô˘ÏÂÈ¿, Ô ƒ¿·ÓÙ, ¤Ó·˜ πÚ·ÎÈÓfi˜ ʈÙÔÁÚ¿ÊÔ˜ Û˘ÁΤÓÙÚˆÛ ·ÚÎÂÙ¿ ¯Ú‹Ì·Ù· ÁÈ· Ó· ·ÓÔ›ÍÂÈ ÙÔ ‰ÈÎfi ÙÔ˘ ηٿÛÙËÌ·. ∆Ë ‚Ú·‰È¿ ÙˆÓ ÂÁηÈÓÈÒÓ, ÂÓÒ ¤¯ÂÈ ÚÔÛÊÂÚı› Ó· Ê˘Ï¿ ÙÔ ·Ú¯·›Ô Ù˙·Ì› ÛÙËÓ ∫·ÓÙÈÌ›ÁÈ·, Ô ƒ¿·ÓÙ ˘ÚÔ‚ÔÏÂ›Ù·È Î·È ÛÎÔÙÒÓÂÙ·È ·fi ÌÈ· ·ÌÂÚÈηÓÈ΋ ÂÚ›ÔÏÔ. ∑ËÙÒÓÙ·˜ ÂΉ›ÎËÛË, Ô πÌÚ·‹Ì, ·‰ÂÚÊfi˜ ÙÔ˘ ƒ¿·ÓÙ, ÔÓÂÈÚ‡ÂÙ·È Ó· Ù·¯ı› Ì ÙÔ˘˜ ™È›Ù˜ ηٿ Ù˘
·ÌÂÚÈοÓÈ΢ ηÙÔ¯‹˜. ª· ηıÒ˜ Â›Ó·È Ô ÌfiÓÔ˜ ¿ÓÙÚ·˜
ÛÙËÓ ÔÈÎÔÁ¤ÓÂÈ·, Ô πÌÚ·‹Ì Ú¤ÂÈ Ó· ·Ó·ÏÏ¿‚ÂÈ ÙÔ ÚfiÏÔ
ÙÔ˘ ÚÔÛÙ¿ÙË. ∂ÓÒ Î¿ÔÈÔÈ ·fi ÙÔ˘˜ Ê›ÏÔ˘˜ ÙÔ˘ ·Ê‹ÓÔ˘Ó
Ù· Û›ÙÈ· ÙÔ˘˜ ÁÈ· Ó· ÔÏÂÌ‹ÛÔ˘Ó ÙÔ˘˜ ∞ÌÂÚÈοÓÔ˘˜, Ô
πÌÚ·‹Ì ÚÔÛ·ı› Ó· ÎÚ·Ù‹ÛÂÈ ÙË ‰Ô˘ÏÂÈ¿ ÙÔ˘ ·‰ÂÚÊÔ‡
ÙÔ˘ Î·È Ó· ÊÚÔÓÙ›˙ÂÈ ÙË ÌËÙ¤Ú· ÙÔ˘ Î·È ÙȘ ‰‡Ô ·‰ÂÚʤ˜ ÙÔ˘.
After years of hard work, Ra’ad, an Iraqi portrait
photographer, has saved enough money to open his own
shop. On the night of the opening, while volunteering to
guard the ancient mosque in Kadhimiya, Ra’ad is shot
and killed by an American patrol. Longing for revenge,
Ra’ad’s brother Ibrahim dreams of joining the Shia
uprising against the American occupation. But as the only
male left in the family, Ibrahim must take on the role of
breadwinner. While some of his friends leave home to
fight the Americans, Ibrahim attempts to continue his
brother’s business and provide for his mother and two
sisters.
∂¶π∫√π¡ø¡π∞ CONTACT
Andrew Berends
Storyteller Productions
25 Washington Street, #536
Brooklyn, NY 11201
USA
Tel: +10171794318
Email: [email protected]
www.storytellerinc.com
∂¶π∫√π¡ø¡π∞ CONTACT
German United Distributors
Breite Strasse 48-50
D-50667 Cologne
Tel: +49 221 92069-12
Fax: +49 221 92069-69
Email: [email protected]
www.germanunited.com
∂¶π∫√π¡ø¡π∞ CONTACT
Email: [email protected]
ECOFILMS
ƒ√¢√™
2006
RODOS
149
æ∞ƒ∞¢∂™
∆∏™ §πª¡√£∞§∞™™∞™
√π °π°∞¡∆π∞π√π µ√À¢∂™
THE GIANT BUDDHAS
∂Ï‚ÂÙ›· Switzerland, 2005
¢È¿ÚÎÂÈ· Running time: 95’ 11’’
™ÎËÓÔı¤Ù˘ Director: Christian Frei
∆Ô ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 2001, ÔÈ ∆·ÏÈÌ¿Ó Âͤ‰ˆÛ·Ó ‰È·Ù·Á‹ Ó· ηٷÛÙÚ·Ê› οı ¿Á·ÏÌ· Ô˘ ‰ÂÓ ‹Ù·Ó πÛÏ·ÌÈÎfi. ª¤¯ÚÈ ÙÔ ª¿ÚÙÈÔ, ÔÈ µÔ‡‰Â˜ ›¯·Ó ·Ó·ÙÈÓ·¯Ù›.
∞ÎÔÏÔ‡ıËÛ ‰ÈÂıÓ‹˜ ηٷÎÚ·˘Á‹, Î·È Ë ˘ÔÎÚÈÛ›· ·˘Ù‹˜ Â›Ó·È ¤Ó· ·fi Ù· ı¤Ì·Ù· Ù˘ ¤Ú¢ӷ˜ ÙÔ˘ ÛÎËÓÔı¤ÙË,
Ô ÔÔ›Ô˜ ÂÈηÏÂ›Ù·È Ù· ÏfiÁÈ· ÙÔ˘ πÚ·ÓÔ‡ ÛÎËÓÔı¤ÙË
ªÔ¯Û¤Ó ª·¯Ì·ÏÌ¿Ê: «∂›Ì·È ϤÔÓ ÂÂÈṲ̂ÓÔ˜ ˆ˜
Ù· ·Á¿ÏÌ·Ù· ÙˆÓ µÔ˘‰ÈÛÙÒÓ ‰ÂÓ Î·Ù·ÛÙÚ¿ÊËηÓ. ŒÁÈÓ·Ó ¯›ÏÈ· ÎÔÌÌ¿ÙÈ· ·fi ÓÙÚÔ‹, ÏfiÁˆ Ù˘ ¿ÁÓÔÈ·˜ Ù˘
¢‡Û˘ ÁÈ· ÙÔ ∞ÊÁ·ÓÈÛÙ¿Ó».
In February of 2001, the Taliban issued an edict that all
non-Islamic statues be destroyed. By March, the
Buddhas had been blown to bits. International
outrage ensued and the hypocrisy of this is one of the
subjects of Frei's beautiful inquiry. He quotes Iranian
filmmaker Mohsen Makhmalbaf: "I am now convinced
that the Buddhist statues were not demolished. They
crumbled to pieces out of shame, because of the
West's ignorance toward Afghanistan."
∂¶π∫√π¡ø¡π∞ CONTACT
Christian Frei Filmproduktionen GmbH
Josefstrasse 176
CH-8005 Zürich Switzerland
Tel: +41 44 481 70 66
Fax: +41 44 482 35 10
Email: [email protected]
www.christian-frei.info
IN THE LAGOON
∏ √ª√ƒºπ∞ ∆√À ªπ∫ƒ√À
∂ÏÏ¿‰· Greece, 2004
¢È¿ÚÎÂÈ· Running time: 44’
™ÎËÓÔı¤Ù˘ Director: °ÈÒÚÁÔ˜ ºÈÏÈ·›Ô˜
Yorgos Filipeos
IS SMALL STILL BEAUTIFUL
∆Ô ·Ú¿ÎÙÈÔ ÂÚÈ‚¿ÏÏÔÓ Ù˘ ÏÈÌÓÔı¿Ï·ÛÛ·˜ ªÂÛÔÏÔÁÁ›Ô˘ – ∞ÈÙˆÏÈÎÔ‡ ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÙÔ Â΂ÔÏÈÎfi ÔÈÎÔÛ‡ÛÙËÌ· ÙÔ˘ ∞¯ÂÏÒÔ˘, Û¯ËÌ·Ù›˙Ô˘Ó ¤Ó· ÛËÌ·ÓÙÈÎfi ˘ÁÚÔ‚ÈfiÙÔÔ, fiÔ˘ ÂηÙÔÓÙ¿‰Â˜ ·Ô‰ËÌËÙÈο Î·È ˘‰Úfi‚È·
Ô˘ÏÈ¿ ‚Ú›ÛÎÔ˘Ó Î·Ù·Ê‡ÁÈÔ Î·È ÙÚÔÊ‹.
√È „·Ú¿‰Â˜ Ù˘ ÏÈÌÓÔı¿Ï·ÛÛ·˜ ¤¯Ô˘Ó ·Ú¯›ÛÂÈ Ó· ·Ô‰¤¯ÔÓÙ·È ÙȘ Û˘Ì‚Ô˘Ï¤˜ ÙˆÓ È¯ı˘ÔÏfiÁˆÓ Î·È ÙˆÓ ˘‰ÚÔ‚ÈÔÏfiÁˆÓ, Ô˘ ÌÂÙ¿ ·fi ‰ÂÈÁÌ·ÙÔÏË„›Â˜ Î·È ¤Ú¢Ó˜ ÛÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ ı·Ï¿ÛÛÈÔ ÂÚÈ‚¿ÏÏÔÓ, Û˘ÌÌÂÙ¤¯Ô˘Ó ÛÙË ÛˆÛÙ‹ ‰È·¯Â›ÚÈÛË ÁÈ· ÙËÓ ·ÂÈÊfiÚÔ ·Ó¿Ù˘ÍË Î·È ÂÎÌÂÙ¿ÏÏ¢ÛË Ù˘ ÏÈÌÓÔı¿Ï·ÛÛ·˜, ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÙËÓ ÂÈ‚›ˆÛË
ÙˆÓ „·Ú¿‰ˆÓ.
∏ Ù·ÈÓ›· ·ÚÔ˘ÛÈ¿˙ÂÈ Ò˜ ÙÔ ·Ó·Ù˘ÍÈ·Îfi Û¯¤‰ÈÔ Ù˘
πÓ‰›·˜ Ô‰ËÁ› ÙÔ˘˜ Èı·ÁÂÓ›˜ Î·È ÙÔ˘˜ ÌÈÎÚfi-·ÁÚfiÙ˜ ÛÙË
ÊÙÒ¯ÂÈ·. ∂›Ù ÏfiÁˆ ÔÚ˘¯Â›ˆÓ, ·ÁÚÔÙÈ΋˜ ÂÎÌÂÙ¿ÏÏ¢Û˘,
·Ó·‰·ÛÒÛÂˆÓ ‹ ÊÚ·ÁÌ¿ÙˆÓ, Ù· ¿ÁÈ· ‰ÈηÈÒÌ·Ù· ÙˆÓ Èı·ÁÂÓÒÓ ¿Óˆ ÛÙË ÁË ÙÔ˘˜ Î·È Ë ·Ó¿ÏÔÁË ·Ô˙ËÌ›ˆÛË
˘ÔÓÔ̇ÔÓÙ·È. ¶¿ÌÙˆ¯ÔÈ ϤÔÓ, ÌfiÓÔ Ï›ÁÔÈ «Ù˘¯ÂÚÔ›»
ÌÔÚÔ‡Ó Ó· ‰Ô˘Ï¤„Ô˘Ó Û¯Â‰fiÓ Û·Ó ÛÎÏ¿‚ÔÈ, ·Ú¤¯ÔÓÙ·˜
ÛÙȘ ‚ÈÔÌ˯·Ó›Â˜ Ù˘ πÓ‰›·˜ ·ÓÙ·ÁˆÓÈÛÙÈο ÚÔÓfiÌÈ· ÛÙËÓ
·ÁÎfiÛÌÈ· ÔÈÎÔÓÔÌ›·. ¶ÚÔˆıÒÓÙ·˜ ÙËÓ È‰¤· Ù˘ ·Ó·Á¤ÓÓËÛ˘ ÙˆÓ ¯ˆÚÈÒÓ Î·È Ù˘ ·˘Ù¿ÚÎÂÈ·˜ ÙÔ˘˜, ÙÔ ÔÈÎÔÏÔÁÈÎfi
ΛÓËÌ· Ekta Parishad ‚ÔËı¿ ÙÔ˘˜ Èı·ÁÂÓ›˜ Ó· ·ÓÙÈÛÙ·ıÔ‡Ó.
The coastal environment of the Messologi-Aetolicos
lagoon, in combination with the ecosystem of the
Acheloos River estuaries, forms an important habitat,
where hundreds of migrating and aquatic birds find
shelter and food.
The fishermen of the lagoon have started to accept the
advice of the ichthyologists and the marine biologists.
The results that derive from sampling and researches,
which are held in this specific ecosystem, contribute to
the proper administration for the sustainable
development and exploitation of the lagoon, in
combination with the fishermen’s survival.
"Is Small Still Beautiful", shows how India's
development pattern is forcing tribal people and small
farmers into slums. Whether it is for mines, agri
business, forest plantations or dams, tribal peoples'
statuary rights to both their land and adequate
compensation are being undermined. Now destitute,
only the "lucky" few work as virtual slaves; giving
India's industries a competitive edge in the global
economy. Promoting philosophies of village
revitalization and self sufficiency, the grass roots
movement Ekta Parishad is helping the forest people
fight back.
∂¶π∫√π¡ø¡π∞ CONTACT
°ÈÒÚÁÔ˜ ºÈÏÈ·›Ô˜
ªÂıÒÓ˘ 57-59
106 81 ∞ı‹Ó·
∂ÏÏ¿‰·
Yorgos Filipeos
57-59, Methonis str
Athens 106 81
Greece
Tel: +30 2103848185, +30 6972873800
Email: [email protected]
150
ECOFILMS
ƒ√¢√™
2006
RODOS
πÓ‰›· India, 2004
¢È¿ÚÎÂÈ· Running time: 25’
™ÎËÓÔı¤Ù˘ Director: Tracy Worcester
∂¶π∫√π¡ø¡π∞ CONTACT
Tracy Worcester
The Cottage
Badminton
South Gloucestershire
GL9 1DG
Tel: +44 (0)1454 218491
Fax: +44 (0)1454 218039
Email: [email protected]
www.tracyworcester.org.uk
www.isec.org.uk
°π∞¡ ™√À¡Ã√µ∂¡,
∆∞ÃÀ¢ƒ√ªπ∫√™
À¶∞§§∏§√™ 18977
JAN SCHOONHOVEN,
OFFICIAL 18977
√ÏÏ·Ó‰›· The Netherlands, 2005
¢È¿ÚÎÂÈ· Running time: 53’
™ÎËÓÔı¤Ù˘ Director: Sherman De Jesus
O °È¿Ó ™Ô˘Ó¯fi‚ÂÓ ˙Ô‡Û ÌÈ· ‹ÚÂÌË Î·È ÌÂÙÚË̤ÓË ˙ˆ‹
ˆ˜ Ù·¯˘‰ÚÔÌÈÎfi˜ ˘¿ÏÏËÏÔ˜ ÓÔ‡ÌÂÚÔ 18977. ¶ÔÈÔ˜ ‹Ù·Ó ·˘Ùfi˜ Ô ¿ÓıÚˆÔ˜ Ô˘ οÔÈ· ̤ڷ Â¤ÙÚ„ ·˘ıfiÚÌËÙ· ÛÙË ‰È¿ÛËÌË °È·ˆÓ¤˙· ηÏÏÈÙ¤¯Óȉ· °È·ÁÈfiÈ
∫Ô˘Û¿Ì· Ó· ˙ˆÁÚ·Ê›ÛÂÈ ÙÔ ÛÒÌ· ÙÔ˘ Ì ‚ԇϘ Î·È ÙËÓ
ÂfiÌÂÓË Ì¤Ú· Â¤ÛÙÚ„ ÓÙ˘Ì¤ÓÔ˜ ηıˆÛÚ¤ÂÈ ÛÙÔ
ÁÚ·Ê›Ô; ∫·Ù¿ ÙËÓ ¤Ú¢ӷ ÙÔ˘˜, ÔÈ ‰ËÌÈÔ˘ÚÁÔ› Ù˘ Ù·ÈÓ›·˜ ·Ó·Î¿Ï˘„·Ó ˆ˜ ¤Ó· ÛËÌ·ÓÙÈÎfi ¤ÚÁÔ Ù¤¯Ó˘ Ô˘
ÙÔ˘ ›¯Â ·Ú·ÁÁÂÏı› ›¯Â ÂÍ·Ê·ÓÈÛÙ› ·fi ÙÔ Ù·¯˘‰ÚÔÌÂ›Ô Ù˘ ÁÂÓ¤ÙÂÈÚ·˜ ÙÔ˘ ηÏÏÈÙ¤¯ÓË. ™ÙËÓ Ù·ÈÓ›· Ô Ê›ÏÔ˜
ÙÔ˘, Ô Î·ÏÏÈÙ¤¯Ó˘ °È¿Ó äÓÙÂÚÈÎÛ ÍÂÎÈÓ¿ Ó· ·Ó·Î·Ï‡„ÂÈ ÙÔ ¯·Ì¤ÓÔ ¤ÚÁÔ. ªÈ· ÂÈÎfiÓ· Ù˘ ˙ˆ‹˜ ÙÔ˘ ™Ô˘Ó¯fi‚ÂÓ, ÙÔ˘ Ì˘ÛÙËÚÈÒ‰Ë ¯·Ú·ÎÙ‹Ú· ÙÔ˘ Î·È ÙÔ˘ ÓÔ‹Ì·ÙÔ˜
ÙˆÓ ¤ÚÁˆÓ ÙÔ˘ ·Ú¯›˙ÂÈ Ó· ·ÔηχÙÂÙ·È.
Jan Schoonhoven lived a sober and modest life as state
postal official no. 18977. Who was this man, who one
day spontaneously let world-famous Japanese artist
Yayoi Kusama paint his nude body with Polka dots to
appear the next day neatly dressed at the office?
During research the filmmakers found out that an
important commissioned art work had disappeared
from its wall at the Post Office in the artist’s
hometown. In the film his friend, artist Jan Henderikse
sets out to find the lost work. An image of
Schoonhoven’s life, his mysterious character and the
meaning of his art work starts to reveal itself.
∂¶π∫√π¡ø¡π∞ CONTACT
Sherman De Jesus
Maliebaan 24-26
3581 CP Utrecht
The Netherlands
Tel: +31 (0)30 2332023
Email: [email protected]
∫∞ƒ¶∞£√™,
•∂∫§∂π¢ø¡√¡∆∞™
ªÀ™∆π∫∞ ª∂ ∆∞ ª∞∆π∞
∆∏™ æÀÃ∏™
∞¶§∞ ∂¡∞ ¶∞πáπ¢π
JUST A GAME
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 20’
™ÎËÓÔı¤Ù˘ Director: £Âfi‰ˆÚÔ˜ ¢È·Ì·ÓÙ‹˜,
°È¿ÓÓ˘ ¶·ÛÙÚÈÎfi˜ Theodoros Diamandis,
Yannis Pastrikos
KARPATHOS, UNLOCK
SECRETS THROUGH THE
EYES OF THE SOUL
∫¿ı ·È¯Ó›‰È ¤¯ÂÈ Î·È ÙÔ ‰ÈÎfi ÙÔ˘ ÛÂÓ¿ÚÈÔ. ŸÙ·Ó ˙ˆÓÙ·Ó‡ÂÈ, Ù· ÁÂÁÔÓfiÙ· ·ÏÏ¿˙Ô˘Ó, fï˜ fi,ÙÈ ÎÈ ·Ó Û˘Ì‚Â› ›ӷÈ... ·Ï¿ ¤Ó· ·È¯Ó›‰È! µ·ÛÈṲ̂ÓÔ ÛÙÔ ·È¯Ó›‰È «¶·Ï¤ÚÌÔ».
∂ÏÏ¿‰· Greece, 2005
¢È¿ÚÎÂÈ· Running time: 69’
™ÎËÓÔı¤Ù˘ Director: ª·ÓÒÏ˘ ¢ËÌÂÏÏ¿˜,
º›ÏÈÔ˜ ∞Ï·‚¤Ú·˜ Manolis Dimellas, Philipos Alaveras
Every game has its own script. When it materializes,
facts change, but whatever may happen… it’s just a
game! Based on the board game "Palermo".
ªÈ· ‰È·‰ÚÔÌ‹ ÛÙËÓ ∫¿Ú·ıÔ Ô˘ ·ÎfiÌ· Î·È Û‹ÌÂÚ·
ÎÚ·Ù¿ ·Ó·ÏÏÔ›ˆÙË ÙËÓ Í¯ˆÚÈÛÙ‹ ÎÔ˘ÏÙÔ‡Ú· Î·È ÈÛÙÔÚ›· Ù˘.
A journey through the island Karpathos, that still
preserves its special culture and history.
∂¶π∫√π¡ø¡π∞ CONTACT
£Âfi‰ˆÚÔ˜ ¢È·Ì·ÓÙ‹˜
°. ª·ıÈÔ˘‰¿ÎË 11
ƒ¤ı˘ÌÓÔ, ∫Ú‹ÙË
∂ÏÏ¿‰·
∂¶π∫√π¡ø¡π∞ CONTACT
ª·ÓÒÏ˘ ¢ËÌÂÏÏ¿˜
∞ı·Ó¿ÛÈÔ˘ ¢È¿ÎÔ˘ 38
18533 ¶ÂÈÚ·È¿˜
∂ÏÏ¿‰·
Theodoros Diamantis
G. Mathioudaki 11
Rethimno, Crete
Greece
∆el: +30 2831058806, +30 6973713184
∂mail: [email protected]
Manolis Dimellas
Athanasiou Diakou 38
18533 Piraeus
Greece
°È¿ÓÓ˘ ¶·ÛÙÚÈÎfi˜
∞Á›Ô˘ °ÂˆÚÁ›Ô˘ 45, ƒfi‰Ô˜
∂ÏÏ¿‰·
Tel: +30 2104117149, +30 6977010457
Fax: +302106924770
Email: [email protected]
Yannis Pastrikos
Agiou Georgiou 45, Rodos
Greece
º›ÏÈÔ˜ ∞Ï·‚¤Ú·˜
Philip Alaveras
Tel: +30 6973008542
Email: [email protected]
Tel: +30 2241033530
Email: [email protected]
ECOFILMS
ƒ√¢√™
2006
RODOS
151
∆√ ¶∏¢∏ª∞
∆√À ∫∞∆™∞¡∆ø¡∏
∫∞π √ ª¶∞ƒª¶∞ §∞ª¶ƒ√™
∫∏ºπ™™√™,
¶ƒ√™∫∞πƒ∏ ¡∞ƒ∫∏
KATSANTONIS' LEAP
AND UNCLE LAMBROS
KIFISSOS,
A GOD’S AWAKENING
∂ÏÏ¿‰· Greece, 2005
¢È¿ÚÎÂÈ· Running time: 71’
™ÎËÓÔı¤Ù˘ Director: °ÈÒÚÁÔ˜ ∫ÔÏfi˙˘
Giorgos Kolozis
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 36’ 37’’
™ÎËÓÔı¤Ù˘ Director: ¢ÈÔÓ˘Û›· ∫Ô·Ó¿
Dionysia Kopana
™Ù· Ù¤ÏË ÙÔ˘ 17Ô˘ ·ÈÒÓ· ÛÙËÓ ÂÚÈÔ¯‹ Ù˘ ÔÚÔÛÂÈÚ¿˜ ÙˆÓ
∞ÁÚ¿ÊˆÓ Î˘Úȷگ› Ô ∫·ÙÛ·ÓÙÒÓ˘. √ ıÚ‡ÏÔ˜ ϤÂÈ ÔÙÈ Ô
∫·ÙÛ·ÓÙÒÓ˘ ÁÈ· Ó· ÍÂʇÁÂÈ ·fi ÙÔ˘˜ ∆Ô‡ÚÎÔ˘˜ ¤Êı·ÓÂ
ÛÙȘ fi¯ı˜ ÙÔ˘ ∞¯ÂÏÒÔ˘ Î·È ˉԇÛ ·¤Ó·ÓÙÈ, Û ¤Ó· ·fiÙÔÌÔ ÛËÌÂ›Ô ÙÔ˘ ÔÙ·ÌÔ‡ Ô˘ ·fi ÙfiÙ ÔÓÔÌ¿˙ÂÙ·È ÙÔ
¶‹‰ËÌ· ÙÔ˘ ∫·ÙÛ·ÓÙÒÓË. ™ÙȘ ·Ú¯¤˜ ÙÔ˘ 21Ô˘ ·ÈÒÓ· Ô
Ì¿ÚÌ· §¿ÌÚÔ˜, ¤Ó·˜ ÁÔËÙ¢ÙÈÎfi˜ Î·È Û˘Ó¿Ì· ÙÚ·¯‡˜
ÔÚÂÛ›‚ÈÔ˜ ÔÓÂÈÚ‡ÂÙ·È Ó· ηٷʤÚÂÈ Î¿ÔÙ ӷ ÂÈÛÎÂÊı›
ÙÔ ¶‹‰ËÌ· ÙÔ˘ ∫·ÙÛ·ÓÙÒÓË...
∆Ô ÓÙÔÎÈÌ·ÓÙ¤Ú «∫ËÊÈÛÛfi˜, ¶ÚfiÛηÈÚË ¡¿ÚÎË» ·Ú·ÎÔÏÔ˘ı› ÙË ÚÔ‹ ÙÔ˘ ÔÙ·ÌÔ‡ ·fi ÙȘ ËÁ¤˜ ÙÔ˘ ÛÙËÓ
¶¿ÚÓËı· ˆ˜ ÙȘ Â΂ÔϤ˜ ÙÔ˘ ÛÙÔ º¿ÏËÚÔ, ηٷÁÚ¿ÊÔÓÙ·˜ fiϘ ÙȘ ·ÚÂÌ‚¿ÛÂȘ ÌÔÚÊÔÔ›ËÛ˘-ÂÍ·Ê¿ÓÈÛ‹˜
ÙÔ˘ ̤¯ÚÈ ÙÔÓ ÙÂÏÈÎfi ÂÁÎÈ‚ˆÙÈÛÌfi ÙÔ˘ Î·È ÙË ÌÂÙ·ÙÚÔ‹
ÙÔ˘ ۠ψÊfiÚÔ. ∫·ıÒ˜ ÙÔ ¶ÔÙ¿ÌÈ ·ÏÏËÏÂȉڿ Ì ÙË
˙ˆ‹ ÙˆÓ ÂÚ›ÔÈÎˆÓ –Î·È fi¯È ÌfiÓÔ, Ë Ù·ÈÓ›· ÂÛÙÈ¿˙ÂÈ
ÛÙÔ˘˜ ͤÊÚÂÓÔ˘˜ Ú˘ıÌÔ‡˜ ÌÈ·˜ ÌËÙÚfiÔÏ˘ Ô˘ Û˘Ó¯Ҙ ÌÂÙ·‚¿ÏÏÂÙ·È.
At the end of the 17th century Katsantonis is master of
the Agrafa mountain range. According to the people of
Agrafa, in order to get away from the Turkish , as
Katsantonis reached the banks of the Acheloos River he
leaped across a precipitous part of the river which since
then bears the name of Katsantonis' Leap. In the early
21st century Uncle Lambros, a charming and at the same
time rough highlander dreams of one day visiting
Katsantonis' Leap…
The documentary "Kifissos, a God’s Awakening"
follows the flow of the river from its sources at Mount
Parnitha to its mouth in Faliro. In this downstream
travel, it records all the interventions that change the
shape and destroy the river and finally the entrapment
of the river – God Kifissos so it can be tend into an
avenue. While the river interacts directly with the lives
of those living near it, the movie focuses at the wild
tempo of an ever-changing capital.
∂¶π∫√π¡ø¡π∞ CONTACT
°ÈÒÚÁÔ˜ ∫ÔÏÔ˙‹˜
∞Ó·ÛÙ¿Ûˆ˜ 157
15669 ¶·¿ÁÔ˘
∂ÏÏ¿‰·
∂¶π∫√π¡ø¡π∞ CONTACT
¢ÈÔÓ˘Û›· ∫Ô·Ó¿
ƒfi‰Ô˘ 35
10446 ∞ı‹Ó·
∂ÏÏ¿‰·
Giorgos Kolozis
Anastaseos 157
15669 Athens
Greece
Dionysia Kopana
Rodou 35
10446 Athens
Greece
Tel: +30 2106510657-8, +30 6932427446
Fax +30 2106548454
Email: [email protected]
Tel: +30 210 8675764, +30 693 7063737
Fax: +30 210 8622802
Email: [email protected]
∫§∂ø¡ ∫ƒ∞¡∆√¡∂§§∏™
«∏ ª∂™√°∂π∞∫∏ ∞π£ƒπ∞
∫∞π √ ∏§∂∫∆ƒπ∫√™
§∂µπ∞£∞¡»
KLEON KRANTONELLIS
"THE MEDITERRANEAN ATRIUM
AND THE ELECTRICAL LEVIATHAN"
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 28’
™ÎËÓÔı¤Ù˘ Director: ÕÁÁÂÏÔ˜ ∫Ô‚ÒÙÛÔ˜
Angelos Kovotsos
∆ÂÏÈο ÔÈÔ˜ ‹Ù·Ó Ô ∫ϤˆÓ ∫Ú·ÓÙÔÓ¤ÏÏ˘; ∏ οÌÂÚ·, ÎÔÌÌ¿ÙÈ-ÎÔÌÌ¿ÙÈ, Û˘Óı¤ÙÂÈ ÙË «Ê¢Á·Ï¤· ÌÔÚÊ‹ ÙÔ˘», ̤۷ ·fi ÙËÓ ·Ó¿‰ÂÈÍË ÙÔ˘ ¤ÚÁÔ˘ ÙÔ˘: ·fi ÙÔÓ ÂÈÚ·Ì·ÙÈÎfi ÔÈÎÈÛÌfi ÛÙÔ ∫ÂÚ·ÙÛ›ÓÈ ¤ˆ˜ ÙÔ ÊÔ˘ÙÔ˘ÚÈÛÙÈÎfi ÎÙ›ÚÈÔ Ù˘ ¢∂∏
ÛÙËÓ Ô‰fi 3˘ ™ÂÙÂÌ‚Ú›Ô˘, ÙÔ Û›ÙÈ Ù˘ ¶Ï¿Î·˜ Î·È ÙËÓ ÂÍÔ¯È΋ ηÙÔÈΛ· ÛÙÔ ¶fiÚÙÔ ƒ¿ÊÙË, ·ÏÏ¿ Î·È ÙÔ ÂÁηٷÏÂÏÂÈÌ̤ÓÔ Û‹ÌÂÚ· ·ÙÚÈÎfi Û›ÙÈ ÛÙËÓ ∫·‚¿Ï·, ÙËÓ È¯ı˘fiÛηϷ Ù˘ fiÏ˘, ÙÔ ‰ÈÔÈÎËÙ‹ÚÈÔ Î·È ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ Î·ÓÔ‡, ·Ó·‰‡ÂÙ·È ¤Ó·˜ Èı‡ÓˆÓ ÓÔ˘˜ Ô˘ ηٿÊÂÚ ӷ Û˘Ó‰˘¿˙ÂÈ Ì ÌÔÓ·‰ÈÎfi ÙÚfiÔ ÙÔÓ ÔÚıÔÏÔÁÈÛÌfi Ì ÙËÓ ÔÚÁ·ÓÈ΋ ·Ú¯ÈÙÂÎÙÔÓÈ΋.
Who is Kleon Krantonellis, after all? Bit by bit, the camera
puts together his "fleeting form", through the
presentation of his work: from the experimental
settlement in Keratsini to the futuristic building of the
electrical company on 3rd September Street in Athens, to
the house in Plaka and the summer home in Porto Rafti,
but also to the abandoned family home in Kavala, the
harbour town’s fish wharf, the government house and
the tobacco factory, there emerges a mastermind who
succeeded in combining rationalism with organic
architecture in an absolutely unique way.
∂¶π∫√π¡ø¡π∞ CONTACT
ÕÁÁÂÏÔ˜ ∫Ô‚ÒÙÛÔ˜
◊‚˘ 6
15234 ∞ı‹Ó·, ∂ÏÏ¿‰·
Angelos Kovotsos
Ivis 6
15234 Athens, Greece
Tel: +30 2106857504
Email: [email protected]
152
ECOFILMS
ƒ√¢√™
2006
RODOS
∏ °¡ø™∏ ∆∏™ π∞™∏™
DAS WISSEN VOª HEILEN
THE KNOWLEDGE
OF HEALING
∂Ï‚ÂÙ›· Switzerland, 1996
¢È¿ÚÎÂÈ· Running time: 90’
™ÎËÓÔı¤Ù˘ Director: Franz Reichle
¶ÔÏÏÔ› ÈÛÙÂ‡Ô˘Ó ˆ˜ Ë £È‚ÂÙÈ·Ó‹ È·ÙÚÈ΋ ¤¯ÂÈ Î¿ÙÈ ÙÔ
Ì·ÁÈÎfi. ∞˘Ùfi ‰ÂÓ ÈÛ¯‡ÂÈ. ∏ Ù·ÈÓ›· ·ÚÔ˘ÛÈ¿˙ÂÈ ˆ˜ Ë È·ÙÚÈ΋ ÙˆÓ £È‚ÂÙÈ·ÓÒÓ ‚·Û›˙ÂÙ·È Û ÌÂÁ¿ÏÔ ‚·ıÌfi Û ÔÏÈÛÙÈΤ˜ ÂÈÛÙËÌÔÓÈΤ˜ ‰È·‰Èηۛ˜. ∏ ÓÂ˘Ì·ÙÈ΋ ÏÂ˘Ú¿ Ù˘, fiÔ˘ ÁÈ· ·Ú¿‰ÂÈÁÌ· Û οÔÈ· ·ÚÚÒÛÙÈ· ÔÈ
ÁÈ·ÙÚÔ› ÚÔÙ›ÓÔ˘Ó Î¿ÔȘ Û˘ÁÎÂÎÚÈ̤Ó˜ ÚÔÛ¢¯¤˜ ‹
ÈÂÚÔÙÂÏÂÛٛ˜ (¶Ô‡ÓÙÛ·˜), ÂÍËÁÂ›Ù·È ·fi ÙÔ ÁÂÁÔÓfi˜ ˆ˜
ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ ·ÛıÂÓ›˜ Â›Ó·È µÔ˘‰ÈÛÙ¤˜ Î·È ÔÈ ÁÈ·ÙÚÔ›
¯ÚËÛÈÌÔÔÈÔ‡Ó ÙË ‰‡Ó·ÌË Ù˘ ›ÛÙ˘ ÙˆÓ ·ÛıÂÓÒÓ ÁÈ·
Ó· ÂÓı·ÚÚ‡ÓÔ˘Ó ÙËÓ ›·ÛË.
It is widely believed that Tibetan medicine has
something magical about it. That is not the case. The
film demonstrates that the medicine of the Tibetans is
founded to a high degree on wholly scientific
processes. The spiritual aspect of it, whereby for
example in the case of sickness, doctors recommend
the use of certain prayers or rituals (Pudschas), is
explained by the fact that most of the patients are
Bhuddists, and the doctors are using the power of faith
in patients to encourage cures.
∂¶π∫√π¡ø¡π∞ CONTACT
Franz Reichle
Postfach, 8040 Zurich
Switzerland
Tel:+41 (0)43 3110455
Email: [email protected]
º∂À°øª∂¡ ¢∏ ºπ§∏¡
∂™ ¶∞∆ƒπ¢∞
KOURSAL
LET US FLEE THEN
TO THE BELOVED
FATHERLAND
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 62’
™ÎËÓÔı¤Ù˘ Director: ¡›ÎÔ˜ £ÂÔ‰ÔÛ›Ô˘
Nikos Theodosiou
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 66’
™ÎËÓÔı¤Ù˘ Director: ÃÚ‹ÛÙÔ˜ ¡. ∫·Ú·Î¿Û˘
Christos N. Karakassis
∫Ô˘ÚÛ¿Ï ‹Ù·Ó ÙÔ fiÓÔÌ· ÙÔ˘ ÌÔÓ·‰ÈÎÔ‡ ÛÙÔÓ ÎfiÛÌÔ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Ô˘ ÏÂÈÙÔ‡ÚÁËÛ ¿Óˆ Û ¤Ó· ÈÛÙÈÔÊfiÚÔ ÛÙËÓ ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢ ÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ÌÂÛÔÔϤÌÔ˘. ∏ ·Ó·˙‹ÙËÛË Û˘ÁÎÂÎÚÈÌ¤ÓˆÓ ÏËÚÔÊÔÚÈÒÓ ÁÈ· ÙÔ Ì˘ıÈÎfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ Á›ÓÂÙ·È ·Á¯Ò‰Ë˜
ηıÒ˜ ¯¿ÓÂÙ·È Û ¤Ó· ÔÌȯÏ҉˜ ÙÔ›Ô ̤۷ ·fi ÙÔ ÔÔ›Ô ·Ó·‰ÂÈÎÓ‡ÔÓÙ·È ¿ÏϘ Ù˘¯¤˜ Ù˘ fiÏ˘, ÛÙÔ ‰È¿ÛÙËÌ· ÂÚ›Ô˘ ÂÓfi˜ ·ÈÒÓ·, Ô˘ Ë Â›ÛËÌË ÈÛÙÔÚ›·
ÚÔÎÏËÙÈο ·ÁÓÔ›. √‰ËÁÔ› Û’ ·˘Ùfi ÙÔ Ù·Í›‰È ÔÈ °È¿ÓÓ˘
∆·ÌÙ¿ÎÔ˜ Î·È ¡›ÎÔ˜ ªÈÏ›Ï˘. √ ÚÒÙÔ˜, Ì ÌÈ· ÏÔ‡ÛÈ· ÈÛÙÔÚ›· ÛÙÔ ÂÚÁ·ÙÈÎfi ΛÓËÌ· Î·È ÌÈ· ÛÎÏËÚ‹ ÔÚ›·
ÛÙÔ ÙÚÔÙÛÎÈÛÙÈÎfi ΛÓËÌ· Î·È ·ÚÁfiÙÂÚ· ÛÙÔÓ ·Ó·Ú¯ÈÛÌfi.
√ ‰Â‡ÙÂÚÔ˜, Ì ÌÈ· ·ıÈ·Ṳ̂ÓË Û¯¤ÛË Ì ÙÔ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎfi ÊÈÏÌ.
∂‰Ò Ô Ì˘Ë̤ÓÔ˜ ‰‡Ó·Ù·È Ó· ·ÊÔ˘ÁÎÚ·ÛÙ› ʈӤ˜ Ì·ÎÚÈÓ¤˜ Î·È Ó· ‰ÂÈ ÂÈÎfiÓ˜ ͯ·Ṳ̂Ó˜. √È Ï·ÁȤ˜ Ì ÙÔ˘˜ Ô͢ÎfiÚ˘ÊÔ˘˜ οıÂÙÔ˘˜ fiÁÎÔ˘˜ ÂÚÈ‚¿ÏÏÔ˘Ó ·ÛÊ˘ÎÙÈο ÙÔ
ÙÔ›Ô, Û·Ó Ó· ÌËÓ ˘¿Ú¯ÂÈ ‰È¤ÍÔ‰Ô˜… ŸÌˆ˜ ÔÈ ˘‰¿ÙÈÓÔÈ
‰ÚfiÌÔÈ ‰È·ÛÔ‡Ó Ù· ÔÚÂÈÓ¿ οÛÙÚ· Î·È Ô ·Î·Ù¿·˘ÛÙÔ˜
Ú˘ıÌfi˜ ÙˆÓ ÓÂÚÒÓ ÈηÓÔÔÈ› ÙËÓ ·ÓıÚÒÈÓË ·›ÛıËÛË
Ê˘Á‹˜... ∞˘Ùfi˜ Ô ÙfiÔ˜ Â›Ó·È ÊÈÏfiÍÂÓÔ˜ ̤۷ ·fi ÙË ·ÁÚÈ¿‰· ÙÔ˘, ηıÒ˜ Ë ÔÌÔÚÊÈ¿ ÁÂÓÓÈ¤Ù·È ·fi ÙȘ ·fiÎÚËÌÓ˜
‚Ú·¯ÔÛÎÂ¤˜, ÙÔ˘˜ ÎÔÚÌÔ‡˜, ÙËÓ ¤ÙÚ· Ô˘ ΢Úȷگ› ·ÓÙÔ‡ Û fiϘ ÙȘ ÂÎÊ¿ÓÛÂȘ Ù˘. ŒÙÛÈ Â‰Ò Ë ÂÎÔ‡ÛÈ· Ê˘Á‹
Ú·ÁÌ·ÙÒÓÂÙ·È Î·È Ô Ù·ÍȉÈÒÙ˘ ‚Ú›ÛÎÂÈ ¤Ó· Â›ÁÂÈÔ Î·Ù·Ê‡ÁÈÔ.
KOYƒ™∞§
Koursal was the name of the only cinema in the world
that operated on board a sailing ship on the beach of
Thessaloniki during the Interwar period. The search on
specific information about that mythical cinema
becomes nerve wrecking as it vanishes into a foggy
landscape out of which other aspects of the city
emerge, aspects that span over a century, aspects that
formal history provocatively ignores. Guides to this
journey are Giannis Tamtakos and Nikos Bililis. The first
one, with a rich history in the labor movement and a
tough course in the trotskyist movement and later in
anarchism. The second one, with a passion for
cinematographic film.
Here, the initiated can listen to distant voices and
contemplate forgotten images. The mountainsides, with
their sharp vertical massifs, surround the landscape
tightly, like there is no way out... The aquatic roads
however split the mountainous castles and the incessant
rhythm of the water satisfies man’s sense of escape... This
land is hospitable in its ruggedness, as beauty is born
from steep stone roofs, trunks and rock is present
everywhere in all its expressions. Thus, here, the
involuntary escape is realized and the
∂¶π∫√π¡ø¡π∞ CONTACT
¡›ÎÔ˜ £ÂÔ‰ÔÛ›Ô˘
√ÏÔʇÙÔ˘ 20
∞ı‹Ó·, ∂ÏÏ¿‰·
∂¶π∫√π¡ø¡π∞ CONTACT
ÃÚ‹ÛÙÔ˜ ¡. ∫·Ú·Î¿Û˘
∫·Ó¿ÚË 74
15344 °¤Ú·Î·˜ ∞ı‹Ó·
∂ÏÏ¿‰·
Christos N. Karakassis
Kanari 74
15344 Athens
Greece
Nikos Theodosiou
Olofitou 20
Athens, Greece
Tel: +30 2106049942, +30 6945485403
Email: [email protected]
www.sitemaker.gr/karakasis
Tel: +30 2102931886, +30 2108664470
∂mail: [email protected]
ECOFILMS
ƒ√¢√™
2006
RODOS
153
THE LONG HALL
ªπª∂∆√§π£√π
¡∞∫∞§∞
EÏÏ¿‰· Greece, 2005
¢È¿ÚÎÂÈ· Running time: 9’
™ÎËÓÔı¤Ù˘ Director: ÿÚ˘ ƒ·ÊÙfiÁÈ·ÓÓ˘
Haris Raftogiannis
MIMETOLITHS
¡AKKALA
∫·Ó·‰¿˜ Canada, 2006
¢È¿ÚÎÂÈ· Running time: 60’
™ÎËÓÔı¤Ù˘ Director: Algis Kemezys
∂Ï‚ÂÙ›· Switzerland, 2005
¢È¿ÚÎÂÈ· Running time: 88’
™ÎËÓÔı¤Ù˘ Director: Peter Ramseier
∏ Ù·ÈÓ›· ·˘Ù‹ Ù·Íȉ‡ÂÈ ÛÙËÓ fiÌÔÚÊË, Ì˘ÛÙÈÎÈÛÙÈ΋ ∫Ú‹ÙË ÁÈ· Ó· ÂÚ¢ӋÛÂÈ Î·Ï‡ÙÂÚ· ÙÔ˘˜ ÌÈÌÂÙfiÏÈıÔ˘˜ (‚Ú¿¯Ô˘˜ Î·È ¤ÙÚ˜ Ô˘ ı˘Ì›˙Ô˘Ó ·ÓıÚÒÈÓ˜ ÌÔÚʤ˜).
∫·Ù·È¿ÓÂÙ·È Ì ÙȘ ªÔ‡Û˜ Ô˘ Ì·Ú·˙ÒÓÔ˘Ó ÂÙڈ̤Ó˜ ÛÙÔ ÈÂÚfi ÙÔ›Ô, ÙÔ ¢›ÛÎÔ Ù˘ º·ÈÛÙÔ‡, Ù· ‰È·Á·Ï·Íȷο Ù·Í›‰È·, ÙË ¯Ú˘Û‹ ÙÔÌ‹ ÙÔ˘ ¶˘ı·ÁfiÚ· Ì ÙËÓ ·Ó·ÏÔÁ›· 1 ÚÔ˜ 1,618, ÙÔ˘˜ ¯·Ì¤ÓÔ˘˜ Ï·Ó‹Ù˜, ÙÔ §·‚‡ÚÈÓıÔ, ÙÔ ªÈÓÒÙ·˘ÚÔ.
¡·Î¿Ï·: ¤Ó· ¯ˆÚÈÔ˘‰¿ÎÈ ÛÙËÓ ·¯·Ó‹ ÙÔ‡ÓÙÚ· Ù˘ ºÈÓÏ·Ó‰›·˜. ∞ÔÙÂÏ› ϤÔÓ ÙË ‰Â‡ÙÂÚË ·ÙÚ›‰· ÙÔ˘ Hans
Urlich Schwaar ·fi ÙËÓ ÂÏ‚ÂÙÈ΋ ÂÚÈÔ¯‹ Emmental.
∑ÂÈ ÂΛ Ì ÙÔ Ê›ÏÔ ÙÔ˘ Î·È ÔÈÎÔ‰ÂÛfiÙË, ÙÔÓ ™¿ÌÈ Iisakki
- Matias Syväjärvi, ȉÈÔÎÙ‹ÙË ÙÔ˘ ÌÂÁ·Ï‡ÙÂÚÔ˘ ÎÔ·‰ÈÔ‡ Ù·Ú¿Ó‰ˆÓ. √È Ù¿Ú·Ó‰ÔÈ ÎÈ Ô Ú˘ıÌfi˜ Ù˘ ʇÛ˘ ηıÔÚ›˙Ô˘Ó ÙËÓ Î·ıËÌÂÚÈÓ‹ ˙ˆ‹. √ Peter Ramseier ·Ôı·Ó¿ÙÈÛ ·˘Ù‹ ÙË ˙ˆ‹ Î·È ÙË ÊÈÏ›· ÌÂٷ͇ ÙˆÓ ‰‡Ô ·ÓÙÚÒÓ Ì ‰È·ÊÔÚÂÙÈ΋ ÎÔ˘ÏÙÔ‡Ú· Û ı·̷ÙÈΤ˜ ηÈ
ÔÈËÙÈΤ˜ ÂÈÎfiÓ˜.
√¯ÙÒ ÏÂÙ¿ ›Ûˆ ·fi ÙËÓ ‚ÈÙÚ›Ó· ÂÓfi˜ ·Ú·‰ÔÛÈ·ÎÔ‡
ηÊÂÓ›Ԣ.
Eight minutes behind the shop-window of a
traditional coffee shop.
∂¶π∫√π¡ø¡π∞ CONTACT
ÿÚ˘ ƒ·ÊÙfiÁÈ·ÓÓ˘
™¿ÌÔ˘ 144
18121 ∫ÔÚ˘‰·ÏÏfi˜
∂ÏÏ¿‰·
Haris Raftogiannis
Samou 144
18121 Athens
Greece
Tel: +30 6974669520
Email: [email protected]
154
This film travels to beautiful/mystical Crete, to closely
look at Mimetoliths (rocks and stones that imitate
living beings). It embraces the Muses that have
languished petrified on the sacred landscape; the
Phaistos Disk; intergalactic travel; Pythagoras’ golden
proportion of 1 to 1.618; missing Planets; the
Labyrinth; the Minotaur.
∂¶π∫√π¡ø¡π∞ CONTACT
Algis Kemezys
5967 Ave de l’ Esplanade
Montreal, QUE H2T3A2
Canada
Tel: +1 514 583 5831
Email: [email protected]
ECOFILMS
ƒ√¢√™
2006
RODOS
Näkkälä: a hamlet in Finland's vast tundra. It has
become the second home of Hans Ulrich Schwaar
from the Swiss Emmental region. He lives there with
his friend and host, the Sami Iisakki-Matias Syväjärvi,
owner of the largest reindeer herd. Reindeer and the
rhythm of nature determine everyday life. Peter
Ramseier has captured this life and the friendship
between two men from different cultures with
spectacular and poetic images.
∂¶π∫√π¡ø¡π∞ CONTACT
Peter Ramseier
C/0 T&C Film AG
Seestrasse 41a
CH-8002 Zürich
Switzerland
Tel: +41 (0)79 205 66 30
Email: [email protected]
™∏ª∞™π∞ ∂Ã∂π ∆√ ∆∞•π¢π
NOT INTENT ON ARRIVING
√ÏÏ·Ó‰›· ∆he Netherlands, 2006
¢È¿ÚÎÂÈ· Running time: 104’
™ÎËÓÔı¤Ù˘ Director: Jeroen Stultiens
¢Âη¤ÓÙ ¿ÙÔÌ· ·fi ¤ÓÙ ‰È·ÊÔÚÂÙÈΤ˜ ¯ÒÚ˜ Û˘Ó·ÓÙ‹ıËÎ·Ó Ì¤Ûˆ ÙÔ˘ ÈÓÙÂÚÓ¤Ù ÁÈ· Ó· Á˘Ú›ÛÔ˘Ó ÌÈ· Ù·ÈÓ›·
Ì˘ıÔÏ·Û›·˜ Ì ϛÁ· ¯Ú‹Ì·Ù· Î·È ·ÎfiÌ· ÏÈÁfiÙÂÚ˜ ÂÌÂÈڛ˜. ∆·Í›‰Â˘·Ó ÁÈ· ÙÚÂȘ Ì‹Ó˜ Ì ٷ ۷Λ‰È¿ ÙÔ˘˜
ÛÙÔ ¶ÂÚÔ‡ Î·È ÙË µÔÏÈ‚›·, fiˆ˜ Î·È ÔÈ ¯·Ú·ÎÙ‹Ú˜ ÙÔ˘
¤ÚÁÔ˘. ∏ ÈÛÙÔÚ›· ÙˆÓ ·Ú·ÛÎËÓ›ˆÓ ͉ÈÏÒÓÂÙ·È Ì·˙›
Ì ÙËÓ ÈÛÙÔÚ›· ÙÔ˘ ¤ÚÁÔ˘ Ô˘ ·Ó·Ê¤ÚÂÙ·È Û ·˘ÙÔ‡ ÙÔ˘
›‰Ô˘˜ Ù· Ù·Í›‰È· Î·È ÙË Ê˘Á‹, ‰ËÌÈÔ˘ÚÁÒÓÙ·˜ ÌÈ· ˘‚ÚȉÈ΋ Ù·ÈÓ›· Ô˘ ‰ÂÓ Â›Ó·È Ô‡Ù ·ÏÒ˜ Ì˘ıÔÏ·Û›·
Ô‡Ù ·ÌÈÁÒ˜ ÓÙÔÎÈÌ·ÓÙ¤Ú. §ÂÙ¤˜ ÁÚ·Ì̤˜ Î·È Û˘Ì‚¿ÓÙ· ÌÂٷ͇ ÙˆÓ ÈÛÙÔÚÈÒÓ ‚ÔËıÔ‡Ó ÙÔ ı·ً Ó· ÂÚÓ¿
·ÓÂ·›ÛıËÙ· ·fi ÙË Ì›· ÈÛÙÔÚ›· ÛÙËÓ ¿ÏÏË, ‰ËÌÈÔ˘ÚÁÒÓÙ·˜ ¤ÙÛÈ ¤Ó· ÂӉȷʤÚÔÓ Î·È Ï‹Ú˜ ÓÙÔÎÔ˘Ì¤ÓÙÔ ÂÓfi˜ ÊÈÏfi‰ÔÍÔ˘ ۯ‰›Ô˘.
Fifteen people from five different countries were
brought together through the internet to shoot a
fiction film with little money and even less experience.
They travelled for three months as backpackers
through Peru and Bolivia, just like their fictional
characters. The backstage-story is told together with
the fictional story about backpacking and escapism,
which results in a hybrid film that is not just fiction
and not pure documentary. Thin lines and causalities
between the stories make the viewer jump subtly
from one into the other, eventually making an
inspiring and complete document of an ambitious
project.
∂¶π∫√π¡ø¡π∞ CONTACT
Jeroen Stultiens
Groen van Prinstererstraat 46-I
1051EN Amsterdam
The Netherlands
Tel: +31 641854577
Email: [email protected]
√ °∂ƒ√™ ∫π √ Ã∂™√À™:
¶ƒ√º∏∆∂™
∆∏™ ∂¶∞¡∞™∆∞™∏™
EL VIEJO Y JESUS:
PROPHETAS DE REBELION
THE OLD MAN AND JESUS:
PROPHETS OF REBELLION
µÂÓÂ˙Ô˘¤Ï· Venezuela, 2005
¢È¿ÚÎÂÈ· Running time: 70’
™ÎËÓÔıÂÛ›· Director: Marcelo Andrade Arreaza
∏ Ù·ÈÓ›· «Ô °¤ÚÔ˜ ÎÈ Ô ÃÂÛÔ‡˜: ¶ÚÔÊ‹Ù˜ Ù˘ ∂·Ó¿ÛÙ·Û˘» ·Ú·ÎÔÏÔ˘ı› ÙȘ ˙ˆ¤˜ ‰‡Ô ·ÓıÚÒˆÓ Ô˘ ˙Ô˘Ó
ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ ÙÔ˘ ∫·Ú¿Î·˜, ηٿ ÙË ‰È¿ÚÎÂÈ· ÌÈ·˜ Ê·ÛÈÛÙÈ΋˜ Â›ıÂÛ˘ Ô˘ ÚÔÛ·ı› Ó· ηٷÛÙ›ÏÂÈ ÙËÓ Â·Ó¿ÛÙ·ÛË ÛÙË µÂÓÂ˙Ô˘¤Ï·, Ë ÔÔ›· ·Ó·˙ˆ˘ÚÒÓÂÙ·È
Ì ÙËÓ ¿ÊÈÍË ÙÔ˘ √‡ÁÎÔ ∆Û¿‚˜ ÛÙËÓ ÚÔ‰ڛ·. √È ÛÔÊÔ› ÛÙ›¯ÔÈ ÙÔ˘ °¤ÚÔ˘ ÎÈ Ô ÂÎÚËÎÙÈÎfi˜ ÏfiÁÔ˜ ÙÔ˘ ÃÂÛÔ‡˜
·Ô‰ÂÈÎÓ‡Ô˘Ó ¿ÌÂÛ· ÙËÓ ·ÊÔÛ›ˆÛË ÛÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ô˘ ÁÂÓÓÈ¤Ù·È ÛÙÔ Ï·fi Ù˘ µÂÓÂ˙Ô˘¤Ï·˜, ¤Ú· ·fi
ÙËÓ ÂÈÚÚÔ‹ ÙˆÓ ËÁÂÙÒÓ ‹ ÙˆÓ ÊÔÚ¤ˆÓ Ù˘ ‰È·ÓfiËÛ˘.
∏ Ù·ÈÓ›· ·˘Ù‹ Â›Ó·È ¤Ó· ÓÙÔÎÈÌ·ÓÙ¤Ú-ÚÔÊËÙ›· Ù˘ Â·Ó¿ÛÙ·Û˘ Ô˘ ÔÚÁ·ÓÒÓÂÙ·È ÛȈËÏ¿ ÏÂÙfi ÚÔ˜ ÏÂÙfi
οو ·fi ÙȘ Á¤Ê˘Ú˜ Î·È ÙÔ˘˜ ˘ÔÓfiÌÔ˘˜ ÂÓfi˜ ÎfiÛÌÔ˘
Ô˘ ·ÚÁ¿ ‹ ÁÚ‹ÁÔÚ· ı· ÂÍÂÁÂÚı› ÁÈ· ÙË ‰ÈηÈÔÛ‡ÓË.
"The Old Man and Jesus: Prophets of Rebellion"
documents the lives of two men who live on the streets of
Caracas, in the middle of a fascist offensive that tries to
halt the revolutionary process taking place in Venezuela
and fuelled with the arrival of Hugo Ch a’ vez to the
presidency. The wise lyrics of the Old Man and the
explosive verb of Jesus give a direct account of the
commitment to liberation that grows from the
Venezuelan people, far beyond the influence of leaders or
enlightened vanguards. This film is a documentedprophecy of the rebellion that minute-to-minute is
silently planned below the bridges and sewages of a
world that sooner or later will rise for justice.
™∆√ ¢ƒ√ª√
ON THE WAY
°·ÏÏ›· France, 2005
¢È¿ÚÎÂÈ· Running time: 51’
™ÎËÓÔı¤Ù˘ Director: Delphine Dufriche
™ÂÓ ¡ÙÂÓ›, ÛÙ· ÚÔ¿ÛÙÂÈ· ÙÔ˘ ¶·ÚÈÛÈÔ‡ ÚÈÓ ·fi 3 ¯ÚfiÓÈ·. ∫¿ÔÈ· ÊÈÏ·ÓıÚˆÈο ȉڇ̷ٷ ·Ó·Ï·Ì‚¿ÓÔ˘Ó ¤Ó· Û¯¤‰ÈÔ ·Ó¿Ù˘Í˘ ÁÈ· ÙÔ ª·ÚfiÎÔ. ªÈ· ÔÌ¿‰· Ó·ÚÒÓ ÂÓ‹ÏÈÎˆÓ °¿ÏÏˆÓ Û ÚfiÁÚ·ÌÌ· Â·ÓÂÓۈ̿وÛ˘/Â·Ó¤ÓÙ·Í˘ ÌÂÙ·ÙÚ¤Ô˘Ó ¤Ó· ψÊÔÚ›o Û ÎÏÈÓÈ΋. ∏ ÛÎËÓÔı¤Ù˘ Ù˘ Ù·ÈÓ›·˜ ÍÂÎÈÓ¿ Ó· ·Ú·ÙËÚ› Ù· ¿ÙÔÌ· Ô˘ ÂÌϤÎÔÓÙ·È Û ·˘Ùfi ÙÔ Û¯¤‰ÈÔ, Î·È ÈÔ Û˘ÁÎÂÎÚÈ̤ӷ ÙÔ˘˜ ÁÔÓ›˜ Ù˘, ·fi ·fiÛÙ·ÛË Ì ÌÈ· ‰fiÛË ÂÈÚˆÓ›·˜. ŸÏ· fï˜ ¿Ó ÛÙÚ·‚¿ Î·È Ë ÔÙÈ΋ Ù˘ ÁˆÓ›·
ı· ηٷϋÍÂÈ Û ÌÈ· ηÙ‡ı˘ÓÛË Ô˘ ‰ÂÓ ÙÔ ÂÚ›ÌÂÓÂ.
Saint-Denis, in the suburbs of Paris 3 years ago.
Several charitable institutions undertake a
development project for Morocco. A group of French
young
adults
going
through
reintegration/rehabilitation convert a bus into a clinic.
The film’s director starts by looking at the persons
involved in this project, and in particular her parents,
at a distance with a touch of irony. However, nothing
goes as planned and her point of view will end up
evolving in a direction that she hadn’t expected.
∂¶π∫√π¡ø¡π∞ CONTACT
Delphine Dufriche
34 rue Popincourt, 75011 Paris
France
Tel: +33612447145
Email: [email protected]
∂¶π∫√π¡ø¡π∞ CONTACT
Marcelo Andrade Arreaza
Torre Humbolt, ofc 12-09, Urb. Parque Humbolt
Venezuela
∆el: +58 414 306 7211
Fax: +58 212 976 4995
Email: [email protected]
ECOFILMS
ƒ√¢√™
2006
RODOS
155
√ ∞ƒ∆√™ ∏ªø¡
√ ∂¶π√À™π√™
√ ¶π¡∞∫∞™
¶∞∆ƒ√∫§√™ ∫∞ƒ∞¡∆π¡√™
"ECCE HOMO MODERNO"
UNSER TÄGLICH BROT
OUR DAILY BREAD
THE PAINTING
PATROKLOS KARADINOS
"ECCE HOMO MODERNO"
∂ÏÏ¿‰· Greece, 2005
¢È¿ÚÎÂÈ· Running time: 33’ 09’’
™ÎËÓÔı¤Ù˘ Director: ∫·ÙÂÚ›Ó· ¶·ÙÚÒÓË
Katerina Patroni
∞˘ÛÙÚ›· Austria, 2005
¢È¿ÚÎÂÈ· Running time: 92’
™ÎËÓÔı¤Ù˘ Director: Nikolaus Geyrhalter
∫·ÏÒ˜ ‹Úı·Ù ÛÙË ‚ÈÔÌ˯·ÓÈ΋ ·Ú·ÁˆÁ‹ ÙÚÔʛ̈Ó
Î·È ÙȘ ηÏÏȤÚÁÂȘ ˘„ËÏ‹˜ Ù¯ÓÔÏÔÁ›·˜! ∞ÎÔÏÔ˘ıÒÓÙ·˜ ÙÔ Ú˘ıÌfi ÙˆÓ ÁÚ·ÌÌÒÓ ·Ú·ÁˆÁ‹˜ Î·È ÙˆÓ ÙÂÚ¿ÛÙÈˆÓ Ì˯·ÓÒÓ, Ë Ù·ÈÓ›· ·Ú·ÎÔÏÔ˘ı› ¯ˆÚ›˜ Ó· Û¯ÔÏÈ¿˙ÂÈ ÙÔÓ ÙfiÔ Ô˘ ·Ú¿ÁÂÙ·È Ë ÙÚÔÊ‹ ÛÙËÓ ∂˘ÚÒË:
ÂÈ‚ÏËÙÈÎÔ› ¯ÒÚÔÈ, ÛÔ˘Ú·ÏÈÛÙÈο ÙÔ›· Î·È ·Ú¿ÍÂÓÔÈ
‹¯ÔÈ, ¤Ó· „˘¯Úfi ‚ÈÔÌ˯·ÓÈÎfi ÂÚÈ‚¿ÏÏÔÓ Ô˘ ‰ÂÓ ·Ê‹ÓÂÈ Ôχ ¯ÒÚÔ ÁÈ· ·ÙÔÌÈÎÈÛÌÔ‡˜. ÕÓıÚˆÔÈ, ˙Ò·,
ÛÔ‰ÂȤ˜ Î·È Ì˯·Ó¤˜ ·›˙Ô˘Ó ‰Â˘ÙÂÚ‡ÔÓÙ· ÚfiÏÔ ÛÙÔÓ
ÂÊԉȷÛÌfi ÙÔ˘ Û˘ÛÙ‹Ì·ÙÔ˜ Ô˘ Û˘ÓÙËÚ› ÙÔ ‚ÈÔÙÈÎfi Â›Â‰Ô Ù˘ ÎÔÈÓˆÓ›·˜ Ì·˜.
√ ∫›ÌÔ Ì·˙‡ÂÈ Ê‡ÏÏ·, Ï¿ÛË Î·È ¯ÚÒÌ·Ù· Î·È ·Ú¯›˙ÂÈ
Ó· ˙ˆÁÚ·Ê›˙ÂÈ ‰›Ï· ÛÙË Ï›ÌÓË Ì ÙÚfiÔ È‰È·›ÙÂÚÔ,
ÁÔËÙ¢ÙÈÎfi Î·È ÚˆÙfiÙ˘Ô.
Kimmo collects leaves, mud and paints and sets to
work by the lake in a mesmerizing and compelling
way.
∂¶π∫√π¡ø¡π∞ CONTACT
∫·ÙÂÚ›Ó· ¶·ÙÚÒÓË
∆ÈÌÔϤÔÓÙÔ˜ ºÈϋ̈ÓÔ˜ 14-16
11521 ∞ı‹Ó·
∂ÏÏ¿‰·
Welcome to the world of industrial food production
and high-tech farming! To the rhythm of conveyor
belts and immense machines, the film looks without
commenting into the places where food is produced in
Europe: monumental spaces, surreal landscapes and
bizarre sounds - a cool, industrial environment which
leaves little space for individualism. People, animals,
crops and machines play a supporting role in the
logistics of this system which provides our society’s
standard of living.
Katerina Patroni
Timoleontos Filimonos 14-16
11521 Athens
Greece
Tel: +30 6934305532
Email: [email protected]
∂¶π∫√π¡ø¡π∞ CONTACT
Nikolaus Geyrhalter Filmproduktion GmbH
Hildebrandgasse 26
A-1180 Wien
Austria
Tel: +43-1-403 01 62
Faxl: +43-1-403 01 62
Email: [email protected]
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 28’
™ÎËÓÔı¤Ù˘ Director: ŒÊË •ËÚÔ‡ Efi Xirou
√ ¶¿ÙÚÔÎÏÔ˜ ∫·Ú·ÓÙÈÓfi˜ (1903-1976) Â›Ó·È ·fi ÙÔ˘˜
ÈÔ ÛËÌ·ÓÙÈÎÔ‡˜ ÂÎÚÔÛÒÔ˘˜ Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ÙÔ˘
«ÌÔÓÙ¤ÚÓÔ˘ ÎÈÓ‹Ì·ÙÔ˜» ÛÙËÓ ∂ÏÏ¿‰· Ì ‰ÈÂıÓ‹ ·‹¯ËÛË
Î·È ¤ÓÙÔÓË ·ÚÔ˘Û›· ÛÙË ‰ËÌfiÛÈ· ∞Ú¯ÈÙÂÎÙÔÓÈ΋ Î·È ÙËÓ
ÓÂ˘Ì·ÙÈ΋ ˙ˆ‹ ÙÔ˘ ÙfiÔ˘, Â› ¤ÓÙ ÂÚ›Ô˘ ‰ÂηÂٛ˜.
∆ÔÓ ··Û¯fiÏËÛ ȉȷ›ÙÂÚ· Ë Ù˘ÔÏÔÁ›· ÙÔ˘ ªÔ˘Û›Ԣ ηÈ
΢ڛˆ˜ Ë «Û˘ÓÔÌÈÏ›·» ÙˆÓ ÁÏ˘ÙÒÓ Ì ÙÔ Ê˘ÛÈÎfi ʈ˜. ∆Ô
fiÚ·Ì· ÙÔ˘ ∫·Ú·ÓÙÈÓÔ‡ ·ÔÙ˘ÒÓÂÙ·È ÛÙ· ÎÙ›ÚÈ·, Ù· Û¯¤‰È·, ÙË ˙ˆÁÚ·ÊÈ΋, ÛÙ· ΛÌÂÓ· Ù· ÔÔ›· ‰ËÌÔÛȇÂÈ. ∏
∞Ú¯ÈÙÂÎÙÔÓÈ΋ «Ì ÙË Ì·ıËÌ·ÙÈ΋ Ù˘ ‰È·‡ÁÂÈ· Î·È ÙË Û˘ÓıÂÙÈ΋ Ù˘ ‰‡Ó·ÌË» Û˘Ì‚¿ÏÏÂÈ ÛÙÔÓ «·‰È¿ÎÔÔ ·ÁÒÓ·
ÙˆÓ ÂχıÂÚˆÓ Î·È ˙ˆÓÙ·ÓÒÓ ·ÓıÚÒˆÓ, ÛÙÔ ıÂÌÂÏ›ˆÌ·
ÌÈ· Ó¤·˜ ÎÔÈÓˆÓ›·˜».
Patroklos Karadinos (1903-1976) is one of the major
representatives of architecture’s "modern movement" in
Greece. He was internationally known and exerted a
powerful influence over Greece’s public architecture and
intellectual life for almost five decades. He was especially
interested in the typology of the museum, and especially
in the "conversation" between sculptures and natural
light. Karadinos’s vision is imprinted on the buildings,
drawings, paintings and articles he published. "With its
mathematical lucidity and synthetic power," architecture
contributes to the "unceasing struggle of the free and the
living towards the founding of a new society."
∂¶π∫√π¡ø¡π∞ CONTACT
ŒÊË •ËÚÔ‡
ª·ÚÌ¿ÓÔ˘ 23
147 14 ¡¤Ô˜ ∫fiÛÌÔ˜, ∂ÏÏ¿‰·
Efi Xirou
Barbanou 23
14714 ¡eos Kosmos, Greece
∆el: +30 2109025588
Fax +30 2109025588
Email: [email protected]
156
ECOFILMS
ƒ√¢√™
2006
RODOS
√𠵃√ªπ∂™
∆√À ∞°ƒ√∆∏ ∆∑√¡
∏ ¶√§π∆π∫∏ ∆∏™ ∂À∆ÀÃπ∞™
¶ƒπ¶π∞∆
THE POLITICS OF HAPPINESS
PRIPYAT
THE REAL DIRT
ON FARMER JOHN
ªÔ˘Ù¿Ó Bhoutan, 2005
¢È¿ÚÎÂÈ· Running time: 23’
™ÎËÓÔı¤Ù˘ Director Tracy Worcester
∞˘ÛÙÚ›· Austria, 1999
¢È¿ÚÎÂÈ· Running time: 100’
™ÎËÓÔı¤Ù˘ Director: Nikolaus Geyrhalter
∏¶∞ USA, 2005
¢È¿ÚÎÂÈ· Running time: 82’
™ÎËÓÔı¤Ù˘ Director: Taggart Siegel
∏ Ù·ÈÓ›· ·ÚÔ˘ÛÈ¿˙ÂÈ Ò˜ Ë µ·ÛÈÏÈ΋ ∫˘‚¤ÚÓËÛË ÙÔ˘
ªÔ˘Ù¿Ó ÚÔÛ·ı› Ó· ¯·ÏÈÓ·ÁˆÁ‹ÛÂÈ ÙËÓ ·ÛÙ˘ÊÈÏ›·
Ù˘ ˘·›ıÚÔ˘. °È· Ó· ·Ó·˙ˆÔÁÔÓËı› Ë ÙÔÈ΋ ÔÈÎÔÓÔÌ›· ·Ú¤¯ÔÓÙ·È ÂȉÔÙ‹ÛÂȘ ÁÈ· ÙËÓ ·‡ÍËÛË Ù˘ ÔÛfiÙËÙ·˜ Î·È Ù˘ ÔÈÎÈÏ›·˜ ÙˆÓ ÛÔ‰ÈÒÓ Î·ıÒ˜ Î·È ÁÈ· ÙËÓ
·Ó¿Ù˘ÍË ÙˆÓ ·Ú·‰ÔÛÈ·ÎÒÓ Ù¯ÓÒÓ. ªÂÙ·‚È‚¿˙ÔÓÙ·È
ÂÍÔ˘Û›Â˜ ÛÙ· ÙÔÈο Û˘Ì‚Ô‡ÏÈ· Î·È ÂÚÂ˘Ó¿Ù·È Ë ∞ηı¿ÚÈÛÙË ∂ıÓÈ΋ ∂˘Ù˘¯›· ˆ˜ ÌÈ· ÈÔ Ô˘ÛÈ҉˘ ̤ÙÚËÛË
Ù˘ ÚÔfi‰Ô˘ Û ۯ¤ÛË Ì ÙÔ ∞∂¶. ¶¿Ú· ÙȘ ÂÎÎÏ‹ÛÂȘ
ÙˆÓ ·ÁÚÔÙÒÓ Ó· ÚÔÛٷ٢ıÔ‡Ó ·fi Ù· ÊÙËÓ¿ ÂÈÛ·ÁfiÌÂÓ· ÙÚfiÊÈÌ· ÛÙȘ ·ÁÔÚ¤˜ ÙÔ˘˜, ÔÈ ÔÏÈÙÈÎÔ› ÌÂÏÂÙÔ‡Ó
ÙËÓ Â›ÛÔ‰Ô ÛÙÔÓ ¶·ÁÎfiÛÌÈÔ √ÚÁ·ÓÈÛÌfi ∂ÌÔÚ›Ô˘
(¶√∂). ∆Ô ªÔ˘Ù¿Ó ‚Ú›ÛÎÂÙ·È ÌÚÔÛÙ¿ Û ¤Ó· ÛÙ·˘ÚÔ‰ÚfiÌÈ.
ªÂÙ¿ ÙËÓ Î·Ù·ÛÙÚÔÊ‹ ÙÔ 1986, ‰ËÌÈÔ˘ÚÁ‹ıËΠÌÈ· ··ÁÔÚÂ˘Ì¤ÓË ˙ÒÓË 30 ¯ÏÌ Á‡Úˆ ·fi ÙÔ ˘ÚËÓÈÎfi ÂÚÁÔÛÙ¿ÛÈÔ ÙÔ˘ ∆Û¤ÚÓÔÌÈÏ, Î·È 116.000 ¿ÙÔÌ· ÂÎÂÓÒıËÎ·Ó ·fi
ÙËÓ ÂÚÈÔ¯‹. ∏ Ù·ÈÓ›· «¶ÚÈÈ¿Ù» Â›Ó·È ÙÔ ÔÚÙÚ·›ÙÔ ÙˆÓ ·ÙfiÌˆÓ Ô˘ ·ÎfiÌ· ˙Ô˘Ó Î·È ÂÚÁ¿˙ÔÓÙ·È ÂΛ, Î·È fiÛˆÓ Â¤ÛÙÚ„·Ó ¿ÏÈ. ¶Ò˜ Â›Ó·È Ë ˙ˆ‹ ·˘ÙÒÓ ÙˆÓ ·ÓıÚÒˆÓ,
ÌÈ· ˙ˆ‹ Ì ÙÔÓ ·fiÚ·ÙÔ Î·È ·Î·Ù·ÓfiËÙÔ Î›Ó‰˘ÓÔ Ù˘ Ú·‰ÈÂÓ¤ÚÁÂÈ·˜; ¶Ò˜ ·ÓÙÈÌÂÙˆ›˙Ô˘Ó ÙȘ Û˘Ó¤ÂȘ ÂÓfi˜ ·Ù˘¯‹Ì·ÙÔ˜ Ô˘ ıˆÚÂ›Ù·È ÛÙ·ÙÈÛÙÈο ·‰‡Ó·ÙÔ; ∆¤ÛÛÂÚȘ ÚˆÙ·ÁˆÓÈÛÙ¤˜ ·ÊËÁÔ‡ÓÙ·È ÙȘ ÈÛÙÔڛ˜ ÙÔ˘˜ Î·È ·ÚÔ˘ÛÈ¿˙Ô˘Ó
ÙËÓ Î·ıËÌÂÚÈÓ‹ ˙ˆ‹ ÛÙË ‰È΋ ÙÔ˘˜ ˙ÒÓË.
∆Ô «¤Ô˜» ÂÓfi˜ ·ÓÙÈÚÚËÛ›· ·ÁÚfiÙË ·fi ÙȘ ªÂÛÔ‰˘ÙÈΤ˜
ÔÏÈÙ›˜. ŒÓ·˜ ·fiÎÏËÚÔ˜ Ù˘ ÎÔÈÓˆÓ›·˜ ÙÔ˘, Ô ·ÁÚfiÙ˘
∆˙ÔÓ ÛÙ¤ÎÂÈ ı·ÚڷϤԘ ·Ó¿ÌÂÛ· Û ÌÈ· ÔÈÎÔÓÔÌ›· Û ÎÚ›ÛË,
ηÎÔÚÔ·›ÚÂÙ˜ ʋ̘ Î·È ‚›·. ™˘Ó‰˘¿˙ÔÓÙ·˜ ÙȘ ·Ú·‰fiÛÂȘ ÙÔ˘ ÔÈÎÔÁÂÓÂÈ·ÎÔ‡ ·ÁÚÔÎÙ‹Ì·ÙÔ˜ Ì ÙË ‰‡Ó·ÌË Ù˘ Ù¤¯Ó˘ Î·È Ù˘ ÂχıÂÚ˘ ¤ÎÊÚ·Û˘, ·˘Ù‹ Ë ÈÛÙÔÚ›· ·Ó·ÌfiÚʈÛ˘ Î·È ·Ó·Ó¤ˆÛ˘ ÚÔ·Ó·ÁÁ¤ÏÏÂÈ ÙËÓ ·Ó¿ÛÙ·ÛË ÙˆÓ
·ÁÚÔÎÙËÌ¿ÙˆÓ ÛÙËÓ ∞ÌÂÚÈ΋.
ª¤Û· ·fi Ôχ ÚÔÛˆÈΤ˜ Û˘ÓÂÓÙ‡ÍÂȘ Î·È ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎfi ˘ÏÈÎfi 50 ÂÙÒÓ, Ô ÛÎËÓÔı¤Ù˘ Taggart Siegel ÌÔÈÚ¿˙ÂÙ·È ÙË Û˘Ó·Ú·ÛÙÈ΋ Î·È ·ÛÙ›· Ô‰‡ÛÛÂÈ· ÙÔ˘ ·ÁÚfiÙË
∆˙ÔÓ, ·ÚÔ˘ÛÈ¿˙ÔÓÙ·˜ ÙÈ ı· ÂÈ Ó· Â›Ó·È Î·Ó›˜ ÂÓÙÂÏÒ˜ ‰È·ÊÔÚÂÙÈÎfi˜ Û ÌÈ· ·ÁÚÔÙÈ΋ ÎÔÈÓˆÓ›·.
"The Politics of Happiness in Bhutan" shows how the
Royal Government of Bhutan is tying to curb rural to
urban migration. To revitalize the local economy they
give grants to increase and diversify crop production
and boost traditional crafts. They have devolved
power to local councils and are researching Gross
National Happiness as a more inclusive measurement
of progress than GNP. Despite cries from farmers to be
protected from cheap imported food in their markets,
the politicians are considering joining the World Trade
Organization (WTO). Bhutan is at a cross roads.
∂¶π∫√π¡ø¡π∞ CONTACT
Tracy Worcester
The Cottage
Badminton
South Gloucestershire
GL9 1DG
Tel: +44 (0)1454 218491
Fax: +44 (0)1454 218039
Email: [email protected]
www.tracyworcester.org.uk
www.isec.org.uk
After the catastrophe in 1986, a 30-km restricted zone
was erected around the Chernobyl nuclear power
plant, and 116,000 persons were evacuated from this
area. "Pripyat" is a portrait of the people who still live
and work there, and of those who have moved back.
What is life like for these people, a life with the
invisible and incomprehensible danger of
radioactivity? How do they deal with the after effects
of an accident which is claimed to be statistically
improbable? Four protagonists tell their stories and
provide a look at everyday life in "their" zone.
∂¶π∫√π¡ø¡π∞ CONTACT
Nikolaus Geyrhalter Filmproduktion GmbH
Hildebrandgasse 26
A-1180 Vienna
∞ustria
Tel: +43 1 40 30 162
Fax: +43 1 40 30 162
Email: [email protected]
www.geyrhalterfilm.com
The epic tale of a maverick Midwestern farmer. An outcast
in his community, Farmer John bravely stands amidst a
failing economy, vicious rumours, and violence. By
melding the traditions of family farming with the power of
art and free expression, this powerful story of
transformation and renewal heralds a resurrection of
farming in America.
Through highly personal interviews and 50 years of
beautifully textured footage, filmmaker Taggart Siegel
shares Farmer John’s haunting and humorous odyssey,
capturing what it means to be wildly different in a rural
community.
∂¶π∫√π¡ø¡π∞ CONTACT
Taggart Siegel
Tel: +1 415.647.2049, +1 415.630.0151
∂mail: [email protected]
www.angelicorganics.com
ECOFILMS
ƒ√¢√™
2006
RODOS
157
√ ∫∞¶¡√™
DIM / THE SMOKE
™ÂÚ‚›·-ª·˘ÚÔ‚Ô‡ÓÈÔ
Serbia-Montenegro, 2006
¢È¿ÚÎÂÈ· Running time: 26’
™ÎËÓÔı¤Ù˘ Director: Vladimir Perovic
™·Ó ·ÔÌ·ÎÚ˘Óı› ·fi ÙÔ ·Ú¯¤ÁÔÓÔ ÂÚÈ‚¿ÏÏÔÓ ÙÔ˘, Ô
¿ÓıÚˆÔ˜ ‰ÂÓ ·‡ÂÈ Ó· ÙÔ ·Ô˙ËÙ¿... °È· ÙËÓ ·Ó·‚›ˆÛË ·˘Ù‹˜ Ù˘ Û¯¤Û˘, ¤Ó·˜ Á¤ÚÔ˜ ¿ÓÙÚ·˜ ÂÈ̤ÓÂÈ Ó· Â·Ó·Ï·Ì‚¿ÓÂÈ ÌÈ· ‰È΋ ÙÔ˘ ÈÂÚÔÙÂÏÂÛÙ›·, ÁÂÌ¿ÙË ·fi ÈÛ¯˘ÚÔ‡˜ ·Ú¯¤ÁÔÓÔ˘˜ Û˘Ì‚ÔÏÈÛÌÔ‡˜. ∞Ê‹ÓÂÈ ÙÔ ·ÛÙÈÎfi
ÂÚÈ‚¿ÏÏÔÓ ÎÈ ·ÎÔÏÔ˘ı› ¤Ó· ÛÙÂÓfi ÌÔÓÔ¿ÙÈ Ì¤Û· ·fi
Ù· ‚Ú¿¯È·, ÁÈ· Ó· ÊÙ¿ÛÂÈ Û ¤Ó· ¯ˆÚÈfi-Ê¿ÓÙ·ÛÌ· „ËÏ¿
ÛÙ· ‚Ô˘Ó¿, ÙÔ ÔÔ›Ô ÂÚËÌÒıËΠ¯ÚfiÓÈ· ÚÈÓ. ∂Λ, ·Ó¿ÌÂÛ· Û ÂÚ›Ô˘ ÙÚÈ¿ÓÙ· ÛÎfiÚÈ· ¯·Ï¿ÛÌ·Ù· ÚÒËÓ Î·ÙÔÈÎÈÒÓ, ÛÙËÓ ÂÛÙ›· ÙˆÓ ÚÔÁfiÓˆÓ ÙÔ˘, ·Ó¿‚ÂÈ
¿ÓÙ· ÌÈ· ʈÙÈ¿. ∏ ÔÚÔÊ‹ ·Ó·‰‡ÂÈ ÏÂÙ¿, οˆ˜ Á·Ï¿˙È· ›¯ÓË Î·ÓÔ‡, Ô ÔÔ›Ô˜ ÛËÌ·›ÓÂÈ: ÂÛÙ›·, ʈÙÈ¿, ÔÈÎÔÁ¤ÓÂÈ·, ˙ˆ‹… ªfiÓÔ˜ Û·Ó ÙÔÓ ÙÂÏÂ˘Ù·›Ô ¿ÓıÚˆÔ
ÛÙË ÁË, Ô ‹Úˆ·˜ ÛÙ¤ÏÓÂÈ ÙÔ Ì‹Ó˘Ì· ˆ˜ ˘¿Ú¯ÂÈ ·ÎfiÌ· ˙ˆ‹ ÂΛ…
Once removed from his primordial surroundings, a
man doesn’t stop longing for them… In order to
revive this relationship, an old man persistently
repeats performing a ritual of his own, full of strong
primeval symbolism. He leaves a place of urban living,
and takes a steep narrow path through the rocks, to
reach the dead village high up in the mountains,
abandoned long time ago. There, amidst the thirty or
something scattered remnants of former houses, on
the hearth of his ancestors, he always makes a fire.
The roof emanates thin, rather blue patches of smoke,
and the smoke means: hearth, fire, family, life... Alone
as the last man on the Earth, the hero sends the
message that the life still exists there…
∂¶π∫√π¡ø¡π∞ CONTACT
Vladimir Perovic
Panciceva 20
11000 Beograd
Serbia & Montenegro
Tel: +381 11 2639 251, + 381 63893 4172
Email: [email protected]
158
∏ π™∆√ƒπ∞
∆√À ∞ƒª∞¡∆ ¡∆∞µπ¡∆
∆∞∫∏™ ∑∂¡∂∆√™ «∆√
™∆ƒ√°°À§√–∆√ ∫∆πƒπ√
¶√À ∂¶∂™∂ ™∆∏ °∏»
L’ HISTOIRE NATURELLE
D’ ARMAND DAVID
THE STORY OF ARMAND DAVID
TAKIS ZENETOS "THE
ROUND-THE BUILDING THAT
FELL ON EARTH"
°·ÏÏ›· France, 2005
¢È¿ÚÎÂÈ· Running time: 56’
™ÎËÓÔı¤Ù˘ Director: Lilliane de Kermadec
∂ÏÏ¿‰· Greece, 2006
¢È¿ÚÎÂÈ· Running time: 28’
™ÎËÓÔı¤Ù˘ Director: °ÈÒÚÁÔ˜ ¶··ÎˆÓÛÙ·ÓÙ›ÓÔ˘
Yorgos Papakonstantinou
∏ ˙ˆ‹, Ù· Ù·Í›‰È· Î·È Ù· ÂÈÛÙËÌÔÓÈο ÂÈÙ‡ÁÌ·Ù· ÙÔ˘
∞ÚÌ¿ÓÙ ¡Ù·‚›ÓÙ, Ï·˙·ÚÈÛÙ‹ ÈÂÚ·fiÛÙÔÏÔ˘, Ê˘ÛÈÔÏfiÁÔ˘, ‚ÔÙ·ÓÔÏfiÁÔ˘, ˙ˆÔÏfiÁÔ˘ Î·È «ÔÈÎÔÏfiÁÔ˘» ÚÈÓ
ÙËÓ ÂÔ¯‹ Ù˘ ÔÈÎÔÏÔÁ›·˜. °ÂÓÓ‹ıËΠÛÙË Á·ÏÏÈ΋ ÂÚÈÔ¯‹ ÙˆÓ µ¿ÛΈÓ, Ï¿ÙÚ˘ Ù˘ ʇÛ˘ ·fi Ù· ·È‰Èο
ÙÔ˘ ¯ÚfiÓÈ·, ¤ÁÈÓ ÈÂÚ¤·˜ Î·È Ô·‰fi˜ ÙˆÓ ıˆÚÈÒÓ ÙÔ˘
¢·Ú‚›ÓÔ˘, ·ԉ¯fiÌÂÓÔ˜ ÙȘ ·ÓÙÈı¤ÛÂȘ ÙÔ˘. ª¤Ûˆ Ù˘
ÂÎÎÏËÛÈ·ÛÙÈ΋˜ ÙÔ˘ ÈÂÚ·Ú¯›·˜ ÚÔÛÏ·Ì‚¿ÓÂÙ·È ·fi ÙÔ
ªÔ˘ÛÂ›Ô º˘ÛÈ΋˜ πÛÙÔÚ›·˜ ÙÔ˘ ¶·ÚÈÛÈÔ‡ ÁÈ· Ó· ÌÂÙ·‚›
ÛÙËÓ ∫›Ó·, Ó· ÂÍÂÚ¢ӋÛÂÈ ÙË ¯ÏˆÚ›‰· Î·È ÙËÓ ·Ó›‰·
Î·È Ó· ʤÚÂÈ ‰Â›ÁÌ·Ù·. √ ∞ÚÌ¿ÓÙ ¡Ù·‚›ÓÙ ı· ÂÚ¿ÛÂÈ ¤ÓÙÂη ¯ÚfiÓÈ· ÂΛ, ÛÙÔ ‰Â‡ÙÂÚÔ Ì¤ÚÔ˜ ÙÔ˘ 19Ô˘ ·ÈÒÓ·,
ÌÈ·˜ ÂÚÈfi‰Ô˘ ȉȷ›ÙÂÚ· ‰‡ÛÎÔÏ˘ Î·È ÂÈΛӉ˘Ó˘ ÁÈ·
ÙÔ˘˜ ͤÓÔ˘˜.
The life, travel and scientific achievements of Armand
David, lazarist missionary, naturalist, botanist,
zoologist and "ecologist" before the time of ecology.
Born in the French "pays basque", lover of nature
since his childhood, he becomes a priest and a
believer of Darwin’s theories, assuming his
contradictions. Hired through his religious hierarchy
by the Museum of Natural History of Paris to go to
Chine explore the flora and animal life and bring
specimens, Armand David is going to spend eleven
years there, in the second part of the 19th century, a
very difficult and dangerous period for foreigners.
∂¶π∫√π¡ø¡π∞ CONTACT
Liliane de Kermadec
3 rue Fagon, 75013 Paris
France
Tel: +33 01 45839318, +33 0610086127
Fax: +33 01 45839318
Email: [email protected]
ECOFILMS
ƒ√¢√™
2006
RODOS
√ ∆¿Î˘ ∑ÂÓ¤ÙÔ˜ (1926-1978) Â›Ó·È Ô Î·ÙÂÍÔ¯‹Ó ·Ú¯ÈÙ¤ÎÙÔÓ·˜ ÙÔ˘ ÂÏÏËÓÈÎÔ‡ ÌÔÓÙÂÚÓÈÛÌÔ‡ Ì ÔÏ˘Û¯È‰¤˜ ¤ÚÁÔ.
À‹ÚÍ ¤Ó·˜ ÔÚ·Ì·ÙÈÛÙ‹˜ Ù˘ ÌÂÏÏÔÓÙÈ΋˜ ËÏÂÎÙÚÔÓÈ΋˜
fiÏ˘ Î·È Ù˘ „ËÊȷ΋˜ ÂÔ¯‹˜. ∞˘Ùfi ÙÔ ÓÙÔÎÈÌ·ÓÙ¤Ú ı¤ÙÂÈ
ˆ˜ ÛÙfi¯Ô ÙËÓ ·Ó¿‰ÂÈÍË Ù˘ ۯ‰ȷÛÙÈ΋˜ ÛΤ„˘ ÙÔ˘ ∆¿ÎË
∑ÂÓ¤ÙÔ˘ Î·È ÙÔ˘ ÔÚ·Ì·ÙÈÛÌÔ‡ ÌÈ·˜ ÌÂÏÏÔÓÙÈ΋˜ ÏÂÈÙÔ˘ÚÁ›·˜
ÙÔ˘ Û¯ÔÏ›Ԣ Ì „ËÊȷΤ˜ Ù¯ÓÔÏÔÁ›Â˜ Ì ÛÙfi¯Ô Ó· ÙÔÓ›ÛÂÈ
ÙËÓ ÂÓfiÙËÙ· ÌÈ·˜ ÎÔÈÓˆÓ›·˜ Ô˘ Ù›ÓÂÈ Ó· ‰È·Û·ÛÙ› Û ·ÙÔÌÈΤ˜ Ú·ÎÙÈΤ˜ ·fi ÙËÓ ¯Ú‹ÛË ÙÔ˘ ËÏÂÎÙÚÔÓÈÎÔ‡ ˘ÔÏÔÁÈÛÙ‹.
Takis Zenetos (1926-1978) is the pre-eminent architect
of Greek modernism, with a varied oeuvre. Zenetos was a
visionary of the future electronic city and the digital age.
This documentary aims to highlight Zenetos’s way of
thinking in terms of design and his vision of a school of
the future which would use digital technology, in order to
emphasize the unity of a society that is tending to break
up into individual practices through the use of the
computer.
∂¶π∫√π¡ø¡π∞ CONTACT
°ÈÒÚÁÔ˜ ¶··ÎˆÓÛÙ·ÓÙÈÓÔ˘
ÕÁÚ·˜ 35
¶·ÁÎÚ¿ÙÈ, ∞ı‹Ó·
∂ÏÏ¿‰·
Yorgos Papakonstantinou
Agras 35
Pagrati, Athens
Greece
Tel: +30 2107010755
Email: [email protected]
ME TA ¢π∫∞ ∆√À™ ª∞∆π∞
∆π£√ƒ∂∞-§π∞¡√∫§∞¢π
THROUGH THEIR OWN EYES
TITHOREA-LIANOKLADI
øƒ∞ √¡∂πƒ√À
∂ÏÏ¿‰· Greece, 2005
¢È¿ÚÎÂÈ· Running time: 25’
™ÎËÓÔı¤Ù˘ Director: ∂ÈÚ‹ÓË ºÔÛÁÎÂÚ¿Ô˘
Irina Vosgerau
∂ÏÏ¿‰· Greece, 2005
¢È¿ÚÎÂÈ· Running time: 28’
™ÎËÓÔı¤Ù˘ Director: ™Ù·‡ÚÔ˜ æ˘ÏÏ¿Î˘
Stavros Psillakis
TRAUMZEIT / DREAMTIME
∂Ï‚ÂÙ›·-ƒˆÛ›· Switzerland-Russia, 1992
¢È¿ÚÎÂÈ· Running time: 87’
™ÎËÓÔı¤Ù˘ Director: Franz Reichle
ªÈ· Ù·ÈÓ›· Á˘Ú›˙ÂÙ·È. √È ËıÔÔÈÔ› ·ÓÙÈÌÂÙˆ›˙Ô˘Ó Ì¤Û·
·fi ÙÔ ÚfiÏÔ ÙÔ˘˜ ÙËÓ „˘¯ÔÏÔÁÈ΋ Î·È Û˘Ó·ÈÛıËÌ·ÙÈ΋
ηٿÛÙ·ÛË ÙˆÓ ÚÔÛÒˆÓ Ô˘ ÂÓÛ·ÚÎÒÓÔ˘Ó. ŒÓ·˜
¿ÓıÚˆÔ˜ Ì Úfi‚ÏËÌ· ˘Á›·˜, ¤Ó·˜ ÂÁÎÂÊ·ÏÈο ÓÂÎÚfi˜, ‰˘Ô ÌËÙ¤Ú˜, ÔÈ È·ÙÚÔ›. √ ηı¤Ó·˜ ‚ϤÂÈ ÙËÓ ·Ó·ÁηÈfiÙËÙ· Ù˘ ÌÂÙ·ÌfiÛ¯Â˘Û˘ Ì ٷ ‰Èο ÙÔ˘ Ì¿ÙÈ·. ∆Ô
ı¤Ì· Â›Ó·È Ô ı¿Ó·ÙÔ˜, Ô fiÓÔ˜, Ë ˙ˆ‹ Ô˘ Ú¤ÂÈ Ó·
Û˘Ó¯›˙ÂÈ. ™˘ÓÂÓÙ‡ÍÂȘ Ì ÙÔ˘˜ Û˘ÓÙÂÏÂÛÙ¤˜, Ï¿Ó·
making of Î·È Ï¿Ó· Ù˘ Ù·ÈÓ›·˜ «0+» Û˘Óı¤ÙÔ˘Ó ¤Ó·
·˙Ï, ̤۷ ·fi ÙÔ ÔÔ›Ô ÊˆÙ›˙ÂÙ·È Ë ÚÔÛˆÈ΋ ı¤ÛË
Î·È ÛÙ¿ÛË ÙÔ˘ ηıÂÓfi˜ ÛÙÔ ÂÚÒÙËÌ· Ò˜ Ó· ˙ÂÈ Î·Ó›˜.
∆ÈıÔÚ¤·-∞ÌÊ›ÎÏÂÈ·-ªÚ¿ÏÔ˜-§È·ÓÔÎÏ¿‰È. √ÓfiÌ·Ù·
ηٷ¯ˆÓÈ·Ṳ̂ӷ ÛÙË ÌÓ‹ÌË ÙˆÓ ·ÏÈÒÓ Ô‰ËÁÒÓ Ô˘
¯ÚËÛÈÌÔÔÈÔ‡Û·Ó ÙËÓ ÂıÓÈ΋ Ô‰fi ∞ıËÓÒÓ-§·Ì›·˜ ̤ۈ ªÚ¿ÏÔ˘. ªÈ· ‰È·‰ÚÔÌ‹ 58 ¯ÈÏÈÔ̤ÙÚˆÓ, ÁÈ· ÙÔÓ ÂÈ‚¿ÙË ÙÔ˘ ÙÚ¤ÓÔ˘, ·Ó¿ÌÂÛ· ÛÙÔ˘˜ ÂÈ‚ÏËÙÈÎÔ‡˜ fiÁÎÔ˘˜
ÙÔ˘ ¶·ÚÓ·ÛÛÔ‡, ÙÔ˘ ∫·ÏÏ›‰ÚÔÌÔ˘ Î·È Ù˘ √›Ù˘. ŒÓ·
ÙÔ›Ô ¿ÁÚÈ·˜ ÔÌÔÚÊÈ¿˜, ÚÔÛÈÙfi ÌfiÓÔ Ì ÙÔ ÙÚ¤ÓÔ.
ŸÌˆ˜ Ô ÂÎÛ˘Á¯ÚÔÓÈÛÌfi˜ Î·È ÔÈ ÌÂÁ¿Ï˜ Ù·¯‡ÙËÙ˜ ÙˆÓ
ÛȉËÚÔ‰ÚfiÌˆÓ ÙÔ Î·ıÈÛÙÔ‡Ó ϤÔÓ ·Û‡ÏÏËÙÔ Î·È ˆ˜
ÂÈ‚¿Ù˜ ÙÔ˘ Intercity ‰ÂÓ ÚÔÏ·‚·›ÓÔ˘Ì ӷ ÙÔ ·ÔÏ·‡ÛÔ˘ÌÂ. «ªÈÎÚÔ› ¶·Ú¿‰ÂÈÛÔÈ» Ù˘ ÂÏÏËÓÈ΋˜ ÂÓ‰Ô¯ÒÚ·˜ ÛÙÔ˘˜ ÔÔ›Ô˘˜ Ë Ù·ÈÓ›· Ì·˜ ÍÂÓ·Á› «Îfi‚ÔÓÙ·˜
Ù·¯‡ÙËÙ·».
Œ¯ÔÓÙ·˜ ÛÎÔfi Ó· ÎÈÓËÌ·ÙÔÁÚ·ÊËı› ÙÔ Ù·Í›‰È ·Ó·˙‹ÙËÛ˘ ÙˆÓ ÙÂÏÂ˘Ù·›ˆÓ ™·Ì¿ÓˆÓ ÓÔÌ¿‰ˆÓ ÛÙËÓ ∞Ó·ÙÔÏÈ΋ ™È‚ËÚ›·, Ë Ù·ÈÓ›· ÙÂÏÈο ·Ôı·Ó¿ÙÈÛ ÙËÓ ·ÔÙ˘¯Ë̤ÓË ·Ó·˙‹ÙËÛË ·˘ÙÒÓ ÙˆÓ ·ÓıÚÒˆÓ, ÙˆÓ ÔÔ›ˆÓ Ë
ÎÔ˘ÏÙÔ‡Ú· ¯·Ú·ÎÙËÚ›˙ÂÙ·È ·fi ÙËÓ ·ÚÌÔÓÈ΋ Û˘Ì‚›ˆÛË Ì ÙË Ê‡ÛË. ∞˘Ù‹ Ë ÂÈÙ˘¯Ë̤ӷ ‰ÔÌË̤ÓË Ù·ÈÓ›·
ηٷʤÚÓÂÈ Ó· ·ÚÔ˘ÛÈ¿ÛÂÈ ÙË Ï·¯Ù¿Ú· ÙˆÓ ˘¤ÚÌÂÙÚ·
«ÔÏÈÙÈṲ̂ӈӻ ·ÓıÚÒˆÓ ÁÈ· ÙËÓ ·ÏfiÙËÙ· Î·È ÙÔ
ÓfiËÌ· Ù˘ ˙ˆ‹˜. ∏ Ù·ÈÓ›· ı¤ÙÂÈ ÙÔÓ ·Ú¿‰ÔÍÔ ÙÚfiÔ
˙ˆ‹˜ Ì·˜, Ô˘ ¤¯ÂÈ ·ÁÈ‰Â˘Ù› ·Ó¿ÌÂÛ· ÛÙËÓ ÎÔÈÓˆÓ›·
Ù˘ ·ÊıÔÓ›·˜ Î·È ÙȘ ÚˆÙÔÁÂÓ›˜ ÂÈı˘Ì›Â˜ Ì·˜, ˆ˜ Â›ÎÂÓÙÚÔ Ù˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋˜ ÂÌÂÈÚ›·˜, fiˆ˜ η̛·
¿ÏÏË Ù·ÍȉȈÙÈ΋ Ù·ÈÓ›· Ì «Â͈ÙÈ΋» ıÂÌ·ÙÔÏÔÁ›·.
Tithorea–Amphiklia–Bralos–Lianokladi. These names
are fixed in the memories of the seasoned drivers who
used to pass from the old national road connecting
Athens and Lamia, through Bralos. A route of 58
kilometers, crossing the imposing mountains of
Parnassos, Kallidromo and Iti. A landscape of wild
beauty, accessible only by train. Yet, modernization of
railroads and great velocities do not allow the
passenger adequate time to enjoy the unique scenery.
The movie "slows down" in order to guide us through
"the small paradises" of the Greek country side.
Planned as the filmic documentation of a journey to
find the last nomadic shamans in East Siberia, the film
instead captures the failed search for these people,
whose culture is characterised by living in harmony
with nature. The well-structured film skilfully portrays
the longing of overly 'civilised' people for simplicity
and meaning in life. Like no other travel film on an
'exotic' subject, the theme and the interest of
filmmaker and spectators reflects back toward the
public: "Dreamtime" places our paradoxical living
situation, caught between an affluent society and
archaic longings, in the centre of the filmic experience.
A film is being made. The actors are facing through
their roles the psychological and emotional state of the
characters they portray. A man with a health problem,
a clinically dead person, two mothers, the doctors.
Each of them faces the necessity of transplant though
their own eyes. The subject is death, pain, life that has
to go on. Interviews with those associated in the film,
making-of footage and scenes from the film "0+"
compile a prism, through of which light is shed on the
personal status and attitude of everyone on the
question of how one lives.
∂¶π∫√π¡ø¡π∞ CONTACT
∂ÈÚ‹ÓË ºÔÛÁÎÂÚ¿Ô˘
™ˆÛÈÁ¤ÓÔ˘˜ 7
11632 ∞ı‹Ó·
∂ÏÏ¿‰·
Irina Vosgerau
Sosigenous 7
11632 Athens
Greece
Tel: +30 2107613127, +30 6944842203
Fax: +30 2106980995
Email: [email protected]
∂¶π∫√π¡ø¡π∞ CONTACT
™Ù·‡ÚÔ˜ æ˘ÏÏ¿Î˘
∞˘ÁÂÚÈÓÔ‡ 5
11522 ∞ı‹Ó·
∂ÏÏ¿‰·
∂¶π∫√π¡ø¡π∞ CONTACT
Franz Reichle
Postfach, 8040 Zurich
Switzerland
Tel: +41 (0)43 3110455
Email: [email protected]
Stavros Psillakis
Avgerinou 5
11522 Athens
Greece
Tel: +30 210 6464797, +30 6974419160
Email: [email protected]
ECOFILMS
ƒ√¢√™
2006
RODOS
159
∆ƒπ∫∞§π¡∞ ∆√¶π∞
TRIKALEAN LANDSCAPES
∂∫∆√™ ™Ã∂¢π√À
∏º∞π™∆∂π√
∂ÏÏ¿‰· Greece, 2003
¢È¿ÚÎÂÈ· Running time: 38’ 50’’
™ÎËÓÔı¤Ù˘ Director: M¤Ó˘ £ÂÔ‰ˆÚ›‰Ë˜
Menis Theodoridis
UNPLANNED
VOLCANO
∂ÏÏ¿‰· Greece, 2004
¢È¿ÚÎÂÈ· Running time: 62’
™ÎËÓÔı¤Ù˘ Director: ª¤ÓÈÔ˜ ¢›ÙÛ·˜ Menios Ditsas
∂ÏÏ¿‰· Greece, 2003
¢È¿ÚÎÂÈ· Running time: 13’ 30’’
™ÎËÓÔı¤Ù˘ Director: ÕÚ˘ º·ÙÔ‡ÚÔ˜ Aris Fatouros
™ÙȘ fi¯ı˜ ÙˆÓ ÈÛÙÔÚÈÎÒÓ ÁÂÁÔÓfiÙˆÓ ˙Ô‡Ó ¿ÓıÚˆÔÈ.
∫·ıÒ˜ ÌÔ¯ıÔ‡Ó ÁÈ· ÙËÓ Î·ıËÌÂÚÈÓ‹ ÙÔ˘˜ ÂÈ‚›ˆÛË, ÔÈ
¿ÓıÚˆÔÈ Ù˘ fi¯ı˘ ‚ÈÒÓÔ˘Ó Ù· ÈÛÙÔÚÈο ÁÂÁÔÓfiÙ· ·fi
ÙȘ ηχ‚˜ ÙÔ˘˜. ∆· ¯ÚfiÓÈ· ÂÚÓÔ‡Ó Î·È ÔÈ ¿ÓıÚˆÔÈ
Ù˘ fi¯ı˘, fiÛÔ ÁÂÚÓÔ‡Ó, ·ÊËÁÔ‡ÓÙ·È ÈÛÙÔڛ˜ ·’ ÙË
˙ˆ‹ ÙÔ˘˜Ø ÛÔÊ¿ ÏfiÁÈ· Î·È ÌÈÎÚ¤˜ ÈÛÙÔڛ˜ fiÔ˘ ÔÈ ÚÔÛˆÈΤ˜ ÌӋ̘ Û˘ÓÙ·ÈÚÈ¿˙ÔÓÙ·È fiÙ Ì ÙÔÓ ·ÊÏ·ÛÌfi
Î·È fiÙ Ì ÙÔ˘˜ ‹ÚÂÌÔ˘˜ ÛÙÚÔ‚ÈÏÈÛÌÔ‡˜ ÙˆÓ ÈÛÙÔÚÈÎÒÓ
ÁÂÁÔÓfiÙˆÓ. ∞fi Ù· ÏfiÁÈ· ÙˆÓ ËÏÈÎȈ̤ӈÓ, Ô ‰ËÌÈÔ˘ÚÁfi˜-∫·Ú·ÁÎÈÔ˙Ô·›¯Ù˘ Î·È Ô ·Ú·ÁÈfi˜ ÙÔ˘ ηٷÛ΢¿˙Ô˘Ó ·Ú·ÛÙ¿ÛÂȘ ‰È·ÛΉ·ÛÙÈΤ˜ Î·È ‰È‰·¯ÙÈΤ˜. ŒÙÛÈ,
Ù· ÌÈÎÚ¿ ·È‰È¿ ·ÎÔ‡Ó ÁÈ· Ù· ÁÂÁÔÓfiÙ· Ô˘ ¤Ú·Û·Ó
Î·È ˙˘ÌÒÓÔÓÙ·È Ì ÙÔ ÙÔ›Ô Ù˘ fi¯ı˘.
∆Ô «∂ÎÙfi˜ ۯ‰›Ô˘» Ì·˜ ÏËÚÔÊÔÚ› ÁÈ· ÙËÓ Î·Ù·ÁˆÁ‹
ÙˆÓ ÙÛÈÁÁ¿ÓˆÓ, ÙËÓ ÈÛÙÔÚ›· ÙÔ˘˜ Î·È Ù· ηıËÌÂÚÈÓ¿
ÚÔ‚Ï‹Ì·Ù· ÙÔ˘˜ ÛÙÔÓ ¯ÒÚÔ Ù˘ ∂ÏÏ¿‰·˜. ∆· ȉȷ›ÙÂÚ·
ÎÔÈÓˆÓÈο ÙÔ˘˜ ¯·Ú·ÎÙËÚÈÛÙÈο, Ë ÓÔÌ·‰È΋ ÙÔ˘˜ ·ÓÙ›ÏË„Ë ÁÈ· ÙË ˙ˆ‹, Ë ·È‰È΋ ËÏÈΛ·, Ë ÂÚÁ·Û›·, Ë ·È‰Â›·, Ù· ‹ıË Î·È Ù· ¤ıÈÌ· ÙÔ˘˜, Ë ÌÔ˘ÛÈ΋ ÂȉÂÍÈfiÙËÙ·
ÙÔ˘˜, Ô Á¿ÌÔ˜ Î·È ÔÈ ÁÈÔÚÙ¤˜ ÙÔ˘˜ Â›Ó·È Ô ıÂÌ·ÙÈÎfi˜ ·ÎÏÔ˜ Ù˘ Ù·ÈÓ›·˜ ·˘Ù‹˜. ŒÓ· ȉȷ›ÙÂÚÔ ÛÙÔÈ¯Â›Ô Â›Ó·È ÙÔ
¿ÓÙÚÂÌ· Ô˘ ÂȯÂÈÚ‹ıËΠӷ Á›ÓÂÈ, ·Ó¿ÌÂÛ· ÛÙËÓ ·Ê‹ÁËÛË ÙÔ˘ ÎÂÈ̤ÓÔ˘, ÙȘ ·ÊËÁ‹ÛÂȘ ÙˆÓ ÙÛÈÁÁ¿ÓˆÓ ηÈ
Ù· ·ÔÛ¿ÛÌ·Ù· ·fi ÙÔ Ô›ËÌ· ÙÔ˘ ∫ˆÛÙ‹ ¶·Ï·Ì¿ «√
‰ˆ‰ÂοÏÔÁÔ˜ ÙÔ˘ Á‡ÊÙÔ˘».
∏ Û˘Ó¿ÓÙËÛË ÂÓfi˜ ÕÓÙÚ· Î·È ÌÈ·˜ °˘Ó·›Î·˜ ÛÙÔ ÎÔÈÓfi
„˘¯ÈÎfi ÙÔ˘˜ ÙÔ›Ô.
ŒÓ· Û‚ËṲ̂ÓÔ (;) ËÊ·›ÛÙÂÈÔ.
Along the banks of the stream of historic events,
people make their living. Struggling for daily survival,
these riverbank-dwellers experience the flow of
historic events from within their reed shacks. Years go
by and the bank-dwellers, growing old, tell stories of
their lives; wise talk and short narratives where
personal memories are woven together with the
rushing flood or the calm eddies of historic events. Out
of these stories told by the elders, the Shadow-player
and his apprentice create amusing shows for their
public. Thus, younger people may learn about
incidents of the past and gradually become part of the
bank-dwellers landscap
∂¶π∫√π¡ø¡π∞ CONTACT
ª¤Ó˘ £ÂÔ‰ˆÚ›‰Ë˜
¶·¿ÁÔ˘ 122
15772 ∑ˆÁÚ¿ÊÔ˘, ∂ÏÏ¿‰·
Menis Theodoridis
Papagou 122
15772 Athens, Greece
Tel: +30 2107795595
Fax: +30 2107701930
160
The film is about the gypsy community, their origins,
their history and the daily problems they face in
Greece. Their special social characteristics, their
nomadic perception of life, childhood, work,
education, their social mores and traditions, their
musical skill, their weddings and celebrations – all
constitute the film’s thematic structure. A special
element of this film is the attempt to fuse the narration
of the text, the tales of the gypsies and excerpts from
Costis Palamas’ poem "The Twelve Words of the
Gypsy".
∂¶π∫√π¡ø¡π∞ CONTACT
ª¤ÓÈÔ˜ ¢›ÙÛ·˜, FASMA LTD
™ÔψÌÔ‡ & ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ 1
18345 ªÔÛ¯¿ÙÔ, ∂ÏÏ¿‰·
Menios Ditsas, Fasma LTD
Solomou & Aristotelous 1
18345 Athens, Greece
Tel: +30 2104825983, +30 2109416928,
+30 6932 300 400
Fax: +30 210 4828267
Email: [email protected]
www.fasmaatstudio.gr
ECOFILMS
ƒ√¢√™
2006
RODOS
A Man and a Woman meet on their mutual mental
landscape.
An inactive (?) volcano.
∂¶π∫√π¡ø¡π∞ CONTACT
ÕÚ˘ º·ÙÔ‡ÚÔ˜
¢˘ÚÚ·¯›Ô˘ 55
10443 ∞ı‹Ó·
∂ÏÏ¿‰·
Aris Fatouros
Dirachiou 55
10443 Athens
Greece
Tel: +30 2103673364, +306977244397
Fax: +30210 3673195
Email: [email protected]
∆∞´∑√Àª∂ ∆√¡ ∫√™ª√
WE FEED THE WORLD
∞˘ÛÙÚ›· Austria, 2005
¢È¿ÚÎÂÈ· Running time: 96’
™ÎËÓÔı¤Ù˘ Director: Erwin Wagenhofer
∫·ıËÌÂÚÈÓ¿ ÛÙË µÈ¤ÓÓË Ë ÔÛfiÙËÙ· ÙÔ˘ ·‰È¿ıÂÙÔ˘ „ˆÌÈÔ‡ Ô˘ ÂÈÛÙÚ¤ÊÂÙ·È ÚÔ˜ ηٷÛÙÚÔÊ‹ ·ÚΛ ÁÈ· Ó·
ÛÈÙ›ÛÂÈ ÙË ‰Â‡ÙÂÚË Û ̤ÁÂıÔ˜ fiÏË Ù˘ ∞˘ÛÙÚ›·˜, ÙÔ
°ÎÚ·Ù˜. ¶ÂÚ›Ô˘ 350.000 ÂÎÙ¿ÚÈ· Á˘, ΢ڛˆ˜ ÛÙË §·ÙÈÓÈ΋ ∞ÌÂÚÈ΋, Â›Ó·È ‰ÂÛÌÂ˘Ì¤Ó· ÛÙËÓ Î·ÏÏȤÚÁÂÈ· ÛfiÁÈ·˜ ÁÈ· ÙËÓ ÎÙËÓÔÙÚÔÊ›· Ù˘ ∞˘ÛÙÚ›·˜, ÂÓÒ ÙÔ ¤Ó· ٤ٷÚÙÔ ÙÔ˘ ÙÔÈÎÔ‡ ÏËı˘ÛÌÔ‡ ÏÈÌÔÎÙÔÓ›. ™ÙËÓ Ù·ÈÓ›·
«∆·˝˙ÔÓÙ·˜ ÙÔÓ ÎfiÛÌÔ» Ô ∞˘ÛÙÚÈ·Îfi˜ ÛÎËÓÔı¤Ù˘ Erwin
Wagenhofer ·ÓȯÓ‡ÂÈ ·fi Ô‡ ÚÔ¤Ú¯ÂÙ·È ÙÔ Ê·ÁËÙfi
Ô˘ ÙÚÒÌÂ. ∆Ô Ù·Í›‰È ÙÔ˘ ÙÔÓ Ô‰ËÁ› Û °·ÏÏ›·, πÛ·Ó›·,
ƒÔ˘Ì·Ó›·, ∂Ï‚ÂÙ›·, µÚ·˙ÈÏ›· Î·È ›Ûˆ ÛÙËÓ ∞˘ÛÙÚ›·.
√‰ËÁfi˜ Ì·˜ ηٿ ÙË ‰È¿ÚÎÂÈ· Ù˘ Ù·ÈÓ›·˜ Â›Ó·È ÌÈ· Û˘Ó¤ÓÙ¢ÍË ÙÔ˘ Jean Ziegler, ÂȉÈÎÔ‡ ÂÈÛËÁËÙ‹ ÛÙÔÓ √∏∂ ÁÈ·
ÙÔ ¢Èη›ˆÌ· ÛÙËÓ ∆ÚÔÊ‹.
Every day in Vienna the amount of unsold bread sent
back to be disposed of is enough to supply Austria's
second-largest city, Graz. Around 350,000 hectares of
agricultural land, above all in Latin America, are
dedicated to the cultivation of soybeans to feed
Austria's livestock while one quarter of the local
population starves. In “We feed the world”, Austrian
filmmaker Erwin Wagenhofer traces the origins of the
food we eat. His journey takes him to France, Spain,
Romania, Switzerland, Brazil and back to Austria.
Leading us through the film is an interview with Jean
Ziegler, the United Nations Special Rapporteur on the
Right to Food.
∂¶π∫√π¡ø¡π∞ CONTACT
Allegrofilm Produktions GmbH
Krummgasse 1a
A-1030 Vienna
Austria
Tel: +43 1 712 50 36
Fax: +43 1 712 50 36 20
Email: [email protected]
www.allegrofilm.at
www.we-feed-the-world.at
¶∂ƒπµ∞§§√¡∆π∫√ µƒ∞µ∂π√ ∆∏™ ª∂™√°∂π√À
MEDITERRANEAN ENVIRONMENTAL AWARD
∞fi ÙËÓ ›‰Ú˘Û‹ ÙÔ˘ ÙÔ 1975 ÙÔ ªÂÛÔÁÂÈ·Îfi ¶ÚfiÁÚ·ÌÌ· ¢Ú¿Û˘ (MAP) ˘fi ÙËÓ
·ÈÁ›‰· ÙÔ˘ ∆Ì‹Ì·ÙÔ˜ ¶ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ÙˆÓ ∏ÓˆÌ¤ÓˆÓ ∂ıÓÒÓ (UNEP/MAP) Û˘ÓÙÔÓ›˙ÂÈ ÙËÓ ÔÏÈÙÈ΋ ÂÚÈ‚·ÏÏÔÓÙÈ΋˜ Î·È ÎÔÈÓˆÓÈ΋˜ ÚÔÛÙ·Û›·˜ Ù˘ ªÂÛÔÁ›Ԣ.
∆Ô ¶ÂÚÈ‚·ÏÏÔÓÙÈÎfi µÚ·‚Â›Ô Ù˘ ªÂÛÔÁ›Ԣ (MEA) ‰ËÌÈÔ˘ÚÁ‹ıËΠ¯¿ÚË ÛÙË ÚˆÙÔ‚Ô˘Ï›· 21 ¯ˆÚÒÓ Î·È Ù˘ ∂˘Úˆ·˚΋˜ ∫ÔÈÓfiÙËÙ·˜ Ô˘ ˘ÔÛÙËÚ›˙Ô˘Ó ÙË Û˘Óı‹ÎË Ù˘ µ·ÚÎÂÏÒÓ˘. ∆Ô ‚Ú·‚Â›Ô ·ÔÓ¤ÌÂÙ·È ÛÙËÓ Î·Ï‡ÙÂÚË ÔÙÈÎÔ·ÎÔ˘ÛÙÈ΋ ηÈ
ʈÙÔÁÚ·ÊÈ΋ Û˘Ì‚ÔÏ‹, Ì ÛÎÔfi ÙËÓ ÂÓı¿ÚÚ˘ÓÛË Ù˘ ÚÔÒıËÛ˘ Ù˘ ÚÔÛÙ·Û›·˜ ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓÙÔ˜ Î·È ÙË ‚ÈÒÛÈÌË ·Ó¿Ù˘ÍË Ù˘ ªÂÛÔÁ›Ԣ.
∆Ô Ecofilms ˆ˜ ̤ÏÔ˜ ÙÔ˘ «¢ÈÎÙ‡Ô˘ ¶ÂÚÈ‚·ÏÏÔÓÙÈ΋˜ Î·È ∞ÂÈÊfiÚÔ˘ ∞Ó¿Ù˘Í˘», ¤Ó· ‰›ÎÙ˘Ô Ô˘ ‰ËÌÈÔ˘ÚÁ‹ıËΠÛÂ Û˘ÓÂÚÁ·Û›· Ì ÙËÓ INFO/RAC, ı· ·ÚÔ˘ÛÈ¿ÛÂÈ
ÛÙ· Ï·›ÛÈ· ÙÔ˘ ÊÂÙÈÓÔ‡ ÊÂÛÙÈ‚¿Ï ÌÈ· ÂÈÏÔÁ‹ Ù·ÈÓÈÒÓ Ô˘ ¤Ï·‚·Ó ̤ÚÔ˜ ÛÙÔ
ª∂∞ 2005, ÌÂٷ͇ ·˘ÙÒÓ Î·È ÙÔ˘˜ ÓÈÎËÙ¤˜ ÙˆÓ ‚Ú·‚›ˆÓ.
Since it was set up in 1975, The Mediterranean Action Plan under the Aegis of
United Nations Environment Programme (UNEP/MAP) has coordinated the
policies of environmental and social safeguard of the Mediterranean.
The Mediterranean Environmental Award (MEA) is due to the initiative of 21
countries and of the European Community adhering to the Barcelona
convention to award a prize to the best audiovisual and photographic
contribution to encourage the promotion of environmental protection and
sustainable development of the Mediterranean.
Ecofilms as a part of the "Environment and Sustainable Development Network",
created in cooperation with INFO/RAC, will present in this year’s event a
selection of films that participated at the MEA in 2005, among them the winners
of the award.
"New World" by O. Irving, 11’ 50’’, UK
"Heterogenic" by R. Della Calce, P. Dreossi, 9’, Italy
"The Urban Fishermen" by A. Winkel, 6’, USA
"Back Receipt" by D. Ferrario, 3’, Italy
"200 Dirhams" by L. Marrakchi, 14’39’’, Marocco
"Freewheel" by M. Alibrando, G. Caresio, M. Carino, I. Mortari, 8’, Italy
"Bad Smell" by Tesoma Kindergarten, 2’52’’, Finland
"Youssou, the water boy" by J.L. Slock, 6’45’’, Belgium
"Thirsty Planet – Waters of Discord" by H.C. Ostermann, 26’, Germany
"Coldplay: Don’t panic" by T. Hope, 3’15’’, UK
"An Inexhaustible Resource-Solar Energy" by C. Fechner, N. Enderle, 25’, Germany
"The State of Mediterranean. Concrete Coasts" by BBC World, 22’50’’, UK
"Bio Exists" by S. Ragone, 2’20’’, Italy
"Change of direction in Vietnam" by FAO Information Division, 4’, Italy
"E.P. Ecological Print" by B. Magnani, M. Bianco, 12’, Italy
"The Dump" by Tesoma Kindergarten, 3’22’’, Finland
"Never Again: The Black Wave" by S. Lorenzi, F. Micali, T. Paoli, 31’30’’, Italy
"The Dead Fish and The Lovely Day" by Helapuisto Kindergarten, 4’13’’, Finland
"A school on the lake" by A. Proto, 2’, Cambodia
"A Sign is Enough" by C. Di Dio, 7’54’’, Italy
"Smelling the Garbage" by C. Rota, 6’29’’, Italy
MEA 2005 ‚Ú·‚›· winners:
"R. Mertonensis" by Nicolas Salis, 5’, France
"My World" by Leandro Blanco, 5’
ECOFILMS
ƒ√¢√™
2006
RODOS
161
∞ÊÈÂÚÒÌ·Ù·
Tributes
°ÈfiÓ·˜ ª¤Î·˜
«∫¿Óˆ «ÛÈÙÈΤ˜» Ù·Èӛ˜, ÁÈ’ ·˘Ùfi Î·È ˙ˆØ
∑ˆ, ÁÈ’ ·˘Ùfi Î·È Î¿Óˆ «ÛÈÙÈΤ˜» Ù·Èӛ˜.»
°ÂÓÓ‹ıËΠÛÙË §ÈıÔ˘·Ó›· ÛÙȘ 24 ¢ÂΤ̂ÚË ÙÔ˘ 1922. ŒÊ˘Á ·fi ÙË §ÈıÔ˘·Ó›· ÛÙ· 22. ™˘Ó‹ıÈ˙ ӷ ÎÈÓËÌ·ÙÔÁÚ·Ê› Ì ÌÈ· ·ÏÈ¿ οÌÂÚ· ªfiÏÂÍ. ∂ÈÛΤÊÙËΠÙË °ÂÚÌ·Ó›· ÌÂÙ¿ ÙÔ
¢Â‡ÙÂÚÔ ¶·ÁÎfiÛÌÈÔ ¶fiÏÂÌÔ, ÂÁηٷÛÙ¿ıËΠÛÙË ¡¤· ÀfiÚÎË ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950. ∆Ô 1958
‹Ù·Ó Ô ÚÒÙÔ˜ ÎÚÈÙÈÎfi˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÛÙËÓ ÂÊËÌÂÚ›‰· Village Voice.
«™ÙË §ÈıÔ˘·Ó›· Ì ͤÚÔ˘Ó ˆ˜ ÔÈËÙ‹ Î·È ·‰È·ÊÔÚÔ‡Ó ÁÈ· ÙȘ Ù·Èӛ˜ ÌÔ˘. ™ÙËÓ ∂˘ÚÒË ·ÁÓÔÔ‡Ó Ù· ÔÈ‹Ì·Ù¿ ÌÔ˘, ÛÙËÓ ∂˘ÚÒË Â›Ì·È ÛÎËÓÔı¤Ù˘. ª· ‰Ò, ÛÙȘ ∏ӈ̤Ó˜ ¶ÔÏÈÙ›˜, Â›Ì·È ·ÏÒ˜ ¤Ó·˜ ·ÌÊÈÛ‚ËÙ›·˜!»
∏ÌÂÚÔÏfiÁÈ·, ™ËÌÂÈÒÛÂȘ Î·È ™¯¤‰È· (Walden), 1969, 180’
∞fi ÙÔ 1950 ÎÚ·Ù¿ˆ ¤Ó· ËÌÂÚÔÏfiÁÈÔ Ì ÎÈÓËÌ·ÙÔÁÚ·ÊË̤ÓÔ ˘ÏÈÎfi. ∆ÚÈÁ˘ÚÓÔ‡Û· Ì ÙËÓ
οÌÂÚ¿ ÌÔ˘ Î·È ·ÓÙȉÚÔ‡Û· ÛÙËÓ ÙÚ¤¯Ô˘Û· Ú·ÁÌ·ÙÈÎfiÙËÙ·, Û fiÛ· Û˘Ó¤‚·ÈÓ·Ó, Ê›ÏÔ˘˜,
ÙË ¡¤· ÀfiÚÎË, ÙȘ ÂÔ¯¤˜ ÙÔ˘ ¯ÚfiÓÔ˘. ∫¿ÔȘ ̤Ú˜ ÙÚ·‚Ô‡Û· ‰¤Î· ηڤ, ¿ÏϘ ‰¤Î· ‰Â˘ÙÂÚfiÏÂÙ·, οÔȘ ¿ÏϘ ¿ÏÈ ‰¤Î· ÏÂÙ¿. ◊ Î·È Ù›ÔÙ·… ∏ Ù·ÈÓ›· ·˘Ù‹ ÂÚȤ¯ÂÈ ˘ÏÈÎfi ·fi
ÙËÓ ÂÚ›Ô‰Ô 1964-1968 Û ¯ÚÔÓÔÏÔÁÈ΋ ·Ú¿ıÂÛË.
ºÈÏÌÔÁÚ·Ê›· Filmography
2001 Elvis
Wien & Mozart
2000 As I Was Moving Ahead Occasionally I Saw
Brief Glimpses of Beauty
Gimme Some Truth: The Making of John
Lennon's Imagine Album
1999 This Side of Paradise
1997 Birth of a Nation
1996 Happy Birthday to John
1992 Zefiro Torna or Scenes from the Life
of George Maciunas (Fluxus)
1990 Self Portrait
1986 He Stands in the Desert Counting
the Seconds of His Life
1982 Scenes from the Life of Andy Warhol:
Friendships and Intersections
1981 Notes for Jerome
1980 Paradise Not Yet Lost, or Oona's Third Year
1978 In Between
1976 Lost, Lost, Lost
1972 Reminiscences of a Journey to Lithuania
1969 Diaries, Notebooks and Sketches
Time & Fortune Vietnam Newsreel
1966 Cassis
Notes on the Circus
Report from Millbrook
1964 The Brig
Guns of the Trees
Award Presentation to Andy Warhol
1963 Film Magazine of the Arts
164
∞Ó·ÌÓ‹ÛÂȘ ÂÓfi˜ Ù·ÍȉÈÔ‡ ÛÙË §ÈıÔ˘·Ó›·, 1972, 82’
√È «∞Ó·ÌÓ‹ÛÂȘ…» ¤¯Ô˘Ó ÙË ‰ÔÌ‹ ÙÔ˘ ÛËÌÂȈ̷ٿÚÈÔ˘, ‹ ÙÔ˘ ËÌÂÚÔÏÔÁ›Ô˘, ÌÈ· ÊfiÚÌ·
ÛÙËÓ ÔÔ›· ·Ó‹ÎÂÈ ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ ÙÔ˘ ‡ÛÙÂÚÔ˘ ¤ÚÁÔ˘ ÌÔ˘. ¢ÂÓ Â›¯· ÌÂÁ¿Ï· ¯ÚÔÓÈο
ÂÚÈıÒÚÈ· ÁÈ· Ó· ÂÙÔÈÌ¿Ûˆ οÔÈÔ ÛÂÓ¿ÚÈÔ, Ó· ‚Úˆ ÌÂÙ¿ ÙÔ ¯ÚfiÓÔ Ó· ÙÔ Á˘Ú›Ûˆ, Ó· ÙÔ
ÌÔÓÙ¿Úˆ ÎÙÏ. ∂›¯· ÌfiÓÔ Ï›ÁÔ ¯ÚfiÓÔ Ô˘ ÌÔ˘ Â¤ÙÚÂ ӷ ÎÈÓËÌ·ÙÔÁÚ·ÊÒ Ï›ÁÔ ˘ÏÈÎfi. ∫·È
ηٿ οÔÈÔ ÙÚfiÔ ·˘Ùfi Ì ‚Ô‹ıËÛ ӷ ¤¯ˆ ÙËÓ ËÚÂÌ›· ÌÔ˘. ™ÎÂÊÙfiÌÔ˘Ó «ÂÓÙ¿ÍÂÈ, Ôχ
ηϿ –ÎÈ ·Ó ‰ÂÓ ¤¯ˆ ÙÔ ¯ÚfiÓÔ Ó· ·ÊÈÂÚÒÛˆ ¤ÍÈ ‹ ÂÙ¿ Ì‹Ó˜ ÁÈ· Ó· οӈ ÌÈ· Ù·ÈÓ›·, ‰Â ı·
Ûοۈ ÎÈfiÏ·˜Ø ı· ÎÈÓËÌ·ÙÔÁÚ·ÊÒ ÌÈÎÚ¤˜ ÛËÌÂÈÒÛÂȘ, ̤ڷ-̤ڷ, οı ̤ڷ».
Jonas Mekas
"I make home movies, therefore I live;
I live, therefore I make home movies."
Born in Lithuania December 24th, 1922. Left Lithuania at the age of 22. Used to film with
an old Bolex camera. Visited Germany after WWII, and settled in New York in the 1950s. In
1958, he became the first movie critic for The Village Voice.
"In Lithuania, I am known as a poet, and they don't care about my cinema. In Europe they
don't know my poetry; in Europe, I am a filmmaker. But here, in the United States, I am
only a maverick!"
Diaries, Notes and Sketches (Walden), 1969, 180’
Since 1950 I have been keeping a film diary. I have been walking around with my Bolex
and reacting to the immediate reality: situations, friends, New York, seasons of the year.
On some days I shoot ten frames, on others ten seconds, still on others ten minutes. Or I
shoot nothing.... Walden contains material from the years 1964-1968 strung together in
chronological order.
Reminiscences of a Journey to Lithuania, 1972, 82’
"Reminiscences…" falls into the form of a notebook, or a diary, a form into which most of
my later work seems to fall. I didn’t have any long stretches of time to prepare a script,
then to take months to shoot, then to edit, etc. I had only bits of time which allowed me
to shoot only bits of film. And in a sense it helped me to gain some peace of mind. I said
to myself: "Fine, very fine –if I don’t have time to devote six or seven months to making a
film, I won’t break my heart about it; I’ll film short notes, from day to day, every day."
ECOFILMS
ƒ√¢√™
2006
RODOS
¶Ú¤ÂÈ Ó· ˘‹Ú¯·Ó ·ÚÎÂÙÔ› ÏfiÁÔÈ ÁÈ· ÙË Ì·Ó›· ÙÔ˘ °ÈfiÓ·˜ ª¤Î·˜
Ó· ÎÈÓËÌ·ÙÔÁÚ·Ê› ÙË ˙ˆ‹ Á‡Úˆ ÙÔ˘. ∏ ·ÏÏ·Á‹ ‹Ù·Ó ̤ÚÔ˜ Ù˘ ˙ˆ‹˜ ÙˆÓ ÚÔÛÊ˘ÁÈÎÒÓ ÌÂÙ·ÔÏÂÌÈÎÒÓ ÎÔÈÓˆÓÈÒÓ. ∆Ô Ù·Í›‰È Ô˘ ·Ó·ÁοÛÙËÎ·Ó Ó· οÓÔ˘Ó ·˘ÙÔ› ÔÈ ¿ÓıÚˆÔÈ ·fi ÙËÓ ‡·ÈıÚÔ Ù˘
∂˘ÚÒ˘, Ë ÌÂÙ·ÌfiÚʈÛË Ô˘ ˘¤ÛÙËÛ·Ó. À‹Ú¯Â ÌÈ· ÁÂÈÙÔÓÈ¿ fiÔ˘ ˙Ô‡Û·Ó Î˘Ú›ˆ˜ §ÈıÔ˘ÓÔ› ÛÙÔ °Ô˘›ÏÈ·ÌÛÔ˘ÚÁÎ, Ì ·ÓıÚÒÔ˘˜ Ô˘ ÎÚ·ÙÔ‡Û·Ó ÙȘ ·Ú·‰fiÛÂȘ ÙÔ˘˜ ˙ˆÓÙ·Ó¤˜. √ °ÈfiÓ·˜ ª¤Î·˜ ÎÈÓËÌ·ÙÔÁÚ·Ê› ÙËÓ Î·ıËÌÂÚÈÓfiÙËÙ¿ ÙÔ˘˜, Ì ÔÏÏ¿ ÚfiÛˆ·.
™ÙȘ 16 ∞ÚÈÏ›Ô˘ 1977 ÁÚ¿ÊÂÈ ÛÙÔ ËÌÂÚÔÏfiÁÈfi ÙÔ˘ ÁÈ· οÔÈÔÓ ¿ÏÏÔ §ÈıÔ˘·Ófi ÙÔÓ ∆˙ÔÚÙ˙ ª·ÎÈÔ‡Ó·˜: «ªÂÚÈΤ˜ ÊÔÚ¤˜ ÈÛÙ‡ˆ, ˆ˜
Ô ÙÚfiÔ˜ Ô˘ Ô ∆˙ÔÚÙ˙ ‚ϤÂÈ ÙË ˙ˆ‹ Î·È Ô ÙÚfiÔ˜ ˙ˆ‹˜ ÙÔ˘ ›ӷÈ
Û·Ó Ó· ÌËÓ ÂÚÈ̤ÓÂÈ Ù›ÔÙ· ·fi ·˘Ù‹. Œ¯ÂÈ ‹‰Ë ·ԉ¯Ù› fiÙÈ ‰ÂÓ
˘¿Ú¯ÂÈ Î·Ó¤Ó· ·ÍÈfiÈÛÙÔ Ì¤ÚÔ˜ ÛÙÔÓ ÎfiÛÌÔ ÁÈ’ ·˘ÙfiÓ. √‡Ù ÁˆÁÚ·ÊÈο, Ô‡ÙÂ Ê˘ÛÈÔÏÔÁÈο. ∏ ·ÙÚ›‰· ÙÔ˘ ›¯Â ı˘ÛÈ·ÛÙ› ÛÙÔ ‚ˆÌfi Ù˘ °È¿ÏÙ·˜ Î·È ÙÔ ÛÒÌ· ÙÔ˘ Û˘ÓÙËÚÂ›Ù·È ·fi ÌfiÓÔ ÙÔ˘. ∞˘Ùfi
Ô˘ ÙÔ˘ ¤¯ÂÈ Ì›ÓÂÈ ·ÎfiÌ· Â›Ó·È ÙÔ Á¤ÏÈÔ.» ∞Ó·ÚˆÙÈ¤Ì·È Î·Ù¿ fiÛÔ
ÌÔÚԇ̠ӷ ‰È·ÎÚ›ÓÔ˘Ì ÙȘ ÚÔÛˆÈΤ˜ ÂÌÂÈڛ˜ ÙÔ˘ °ÈfiÓ·˜ ª¤Î·˜ ̤۷ Û ·˘Ù¤˜ ÙȘ ÁÚ·Ì̤˜. Ÿˆ˜ Ô ª·ÎÈÔ‡Ó·˜ ¤ÙÛÈ Î·È Ô ª¤Î·˜
¤¯·Û fi,ÙÈ Â›¯Â Î·È ‰ÂÓ Â›¯Â ÛÙÔÓ fiÏÂıÚÔ Î·È ÙËÓ ÚÔÛÊ˘ÁÈ¿ Ô˘
ÚÔοÏÂÛÂ Ô fiÏÂÌÔ˜ ÛÙËÓ ∂˘ÚÒË. £· ÌÔÚÔ‡Û·Ì ›Ûˆ˜ Ó·
ԇ̠fiÙÈ ·˘Ùfi ÙÔ ¿ıÔ˜ ÁÈ· ÙËÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊËÛË ¤¯ÂÈ Ó· οÓÂÈ ÌÂ
ÙËÓ ÚÔÛ¿ıÂÈ· ·ÓÙÈÌÂÙÒÈÛ˘ ·˘Ù‹˜ Ù˘ Û˘ÁÎÏÔÓÈÛÙÈ΋˜ ·ÒÏÂÈ·˜; ª‹ˆ˜ ÙÔÓ ÂÓ¤ÓÂÂ Ë ·Ó¿ÁÎË Ó· ‚ÚÂÈ ›¯ÓË ·fi ·˘ÙfiÓ ÙÔ ·Ú¿‰ÂÈÛÔ Ô˘ ¯·ÓfiÙ·Ó ÛÙ· ÚfiÛˆ· ·˘ÙÒÓ ÙˆÓ ∂˘Úˆ·›ˆÓ; ◊Ù·Ó
Ì‹ˆ˜ Ë Î¿ÌÂÚ· ¤Ó·˜ ÙÚfiÔ˜ Ó· ηٷÓÔ‹ÛÂÈ ·˘Ùfi ÙÔ Ó¤Ô ÎfiÛÌÔ; √È
Ù·Èӛ˜ Èı·ÓÒ˜ Ó· ‹Ù·Ó ¤Ó· ̤ÛÔ Î·Ù·ÁÚ·Ê‹˜ Ù˘ ÈÛÙÔÚ›·˜ ÂÓÒ
Û˘Ì‚·›ÓÂÈ, Ì fiÏ· Ù· ÛηÌ·Ó‚¿ÛÌ·Ù¿ Ù˘.
™ÙȘ Ù·Èӛ˜ ÙÔ˘ °ÈfiÓ·˜ ª¤Î·˜ ‰ÂÓ Û˘Ó·ÓÙ¿Ì ÙÔ „˘¯Úfi ‚ϤÌÌ· Ô˘
Û˘Ó‹ıˆ˜ Û˘Ó‰¤ÂÙ·È Ì ÙËÓ ¯Ú‹ÛË Ù˘ Ù¯ÓÔÏÔÁ›·˜ ÙˆÓ Ê·ÎÒÓ Î·È
ÙËÓ ·fiÛÙ·ÛË Ô˘ ‰ËÌÈÔ˘ÚÁ› ÌÂٷ͇ ÙÔ˘ ˘ÔÎÂÈ̤ÓÔ˘ Î·È ÙÔ˘ ·ÓÙÈÎÂÈ̤ÓÔ˘. √ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ ‰ÂÓ ‹Ù·Ó ÔÙ¤ ÁÈ· ·˘ÙfiÓ ¤Ó· ̤ÛÔ
·ÔÌfiÓˆÛ‹˜ ÙÔ˘ ·fi ÙÔÓ Á‡Úˆ ÎfiÛÌÔ. ª¿ÏÏÔÓ ÙÔ ·ÓÙ›ıÂÙÔ.
∂ÎÊÚ¿˙ÂÈ ÙËÓ ·Ó¿ÁÎË ÙÔ˘ Ó· ·ÔÙÂϤÛÂÈ Ì¤ÚÔ˜ ÙÔ˘ Û fiÛÔ ‰˘Ó·ÙfiÓ
ÌÂÁ·Ï‡ÙÂÚÔ ‚·ıÌfi. √ °ÈfiÓ·˜ ª¤Î·˜ ·Ó¤Ù˘Í ¤Ó· ÙÚfiÔ Ó· ·ÓÙÈÎÚ›˙ÂÈ Î·Ó›˜ ÙÔÓ ÎfiÛÌÔ Ì ÙÔÓ ÔÔ›Ô Î¿ı ηڤ ·ÚÔ˘ÛÈ¿˙ÂÈ ÙËÓ ˘ÔÎÂÈÌÂÓÈÎfiÙËÙ· ·˘ÙÔ‡ Ô˘ ‚Ú›ÛÎÂÙ·È ›Ûˆ ·fi ÙËÓ Î¿ÌÂÚ·. √È ÎÈÓ‹ÛÂȘ Î·È Ë ·ÛÙ¿ıÂÈ· ¤¯Ô˘Ó Ì›· ¤ÓÙÔÓË ÛˆÌ·ÙÈÎfiÙËÙ·, Î·È Ë Ù¯ÓÔÏÔÁ›· Â›Ó·È ÚÔÛ·ÚÌÔṲ̂ÓË Û ̛· ÁÏÒÛÛ· ÔÙÈÎÒÓ Ï¿ÓˆÓ Ô˘ ÂÎÊÚ¿˙ÂÈ ÙËÓ ÚÔÛˆÈÎfiÙËÙ· ¤ÙÛÈ fiˆ˜ ‰ÂÓ ‹Ù·Ó ÔÙ¤ ÚÈÓ ‰˘Ó·Ùfi.
√È ÌÈÎÚ¤˜, ˘ÔÎÂÈÌÂÓÈΤ˜ ÏÂÙÔ̤ÚÂȘ Â›Ó·È ÁÈ· ·˘ÙfiÓ ÌÂÁ¿Ï˘ ‹ ·ÎfiÌË ˙ˆÙÈ΋˜ ÛËÌ·Û›·˜. ¢›ÓÔ˘Ó ¯ÚÒÌ· Î·È ˙ˆ‹. ∞ÏÏ¿˙Ô˘Ó, ËÁ·›ÓÔ˘Ó Ì ÙË ÚÔ‹ Ù˘ ˙ˆ‹˜. ∫¿ÔÈ· ¿ÏÏ· Ú¿ÁÌ·Ù· ̤ÓÔ˘Ó Ù· ›‰È·
ÛÙË ÛΤ„Ë Î·È ÛÙË ÌÓ‹ÌË.
§ÈÔ˘Ù¿Ô˘Ú·˜ ¶ÛÈÌ›ÏÛÎȘ
∫ÚÈÙÈÎfi˜ Î·È ÂÈÌÂÏËÙ‹˜
There must have been quite a few reasons for Jonas Mekas’ obsession with filming life around him. Change was part of life in the
postwar communities of displaced persons. The journey these
people had made from small places in rural Europe, the transformation they had to go through. There was the predominantly
Lithuanian neighborhood in Williamsburg, with people who were
keeping their own customs alive. Jonas Mekas films their daily existence, with many faces.
On 16 April 1977 he writes in his diary about another Lithuanian,
George Maciunas: "Sometimes I think that George’s view on life
and his lifestyle is that of someone who no longer expects anything from life. Ha has already accepted that there is no reliable
place for him in the world; neither geographically nor physiologically. His country was sacrificed on the altar of Yalta, and his body
–his body is kept together only by his own. What is left from him is
laughter." I wonder how much of Jonas Mekas’ own experience
we can read into these words. Like Maciunas, Mekas had lost
everything to the devastation and displacement brought by the
war in Europe. Could we say that his passion for filming was a way
of dealing with that overwhelming loss? Was it inspired by his
need to find traces of a disappearing paradise in the faces of those
Europeans? Maybe the camera was another way of making sense
of the new world? Film may have been a medium for recording
history as it was happening, with all its overwhelming twists and
turns.
In Jonas Mekas’ films we don’t find the detached gaze that is often
associated with the use of lens technology and the distance it produces between the subject and the object. Filming for him was never a means of distancing himself from the surrounding world.
Quite the opposite; it expressed his urge to immerse himself in it
ever more closely. Jonas Mekas has developed as way of looking
at the world in which every frame shows the subjectivity of the
person behind the camera. The movements and instabilities have
a strong bodily presence, and technology is completely adapted
to a language of framing that expresses personality in a way that
had not been possible before.
To him small subjective details become important or even crucial;
they give color and life. They change, they go with the flow of life.
Some other things stay the same in thoughts and in memories.
Liutauras Psibilskis
Critic and curator
ECOFILMS
ƒ√¢√™
2006
RODOS
165
°ÈfiÓ·˜ ª¤Î·˜: ∏ Ù·ÈÓ›·-ËÌÂÚÔÏfiÁÈÔ
√ °ÈfiÓ·˜ ª¤Î·˜ ÁÂÓÓ‹ıËΠÛÙÔ ÌÈÎÚfi ¯ˆÚÈfi ™ÂÌÂÓ›ÛÎÈ·˚ ÛÙË §ÈıÔ˘·Ó›· ÙÔ 1922 Î·È ÌÂÁ¿ÏˆÛ Û ¤Ó· ·ÁÚfiÎÙËÌ·. ™Ù· Ù¤ÏË ÙÔ˘
¢Â‡ÙÂÚÔ˘ ¶·ÁÎfiÛÌÈÔ˘ ¶fiÏÂÌÔ˘ ÙÔÓ Ê˘Ï¿ÎÈÛ·Ó ÔÈ ¡·˙›. ™ÙË Û˘Ó¤¯ÂÈ· ÛÔ‡‰·Û ÊÈÏÔÛÔÊ›· ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ÙÔ˘ ª¿ÈÓÙ˜ ÛÙË °ÂÚÌ·Ó›· Î·È ÙÔ 1949 ÌÂÙ·ÎfiÌÈÛ ÛÙË ¡¤· ÀfiÚÎË. √ °ÈfiÓ·˜ ª¤Î·˜ ›ӷÈ
Â›Û˘ ÔÈËÙ‹˜ Î·È ¤¯ÂÈ ÂΉÒÛÂÈ ·ÚÎÂÙ¤˜ ÔÈËÙÈΤ˜ Û˘ÏÏÔÁ¤˜.
√ °ÈfiÓ·˜ ª¤Î·˜ ·Û¯ÔÏ‹ıËΠÚÔ¿ÓÙˆÓ Ì ÙÔÓ ÂÈÚ·Ì·ÙÈÎfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ·fi ÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950, ÙfiÛÔ ˆ˜ ‰ËÌÈÔ˘ÚÁfi˜ fiÛÔ Î·È ˆ˜ ·ÎÔ‡Ú·ÛÙÔ˜ ˘ÔÛÙËÚÈÎÙ‹˜ Î·È ‰ÈÔÚÁ·ÓˆÙ‹˜.
ø˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙ‹˜ –Ô ›‰ÈÔ˜ ÚÔÙÈÌ¿ Ó· ·˘ÙÔ·ÔηÏÂ›Ù·È ¤ÙÛÈ,
·Ú¿ ηÏÏÈÙ¤¯Ó˘- ¤¯ÂÈ Î¿ÓÂÈ ·ÚÎÂÙ¤˜ Ù·Èӛ˜ Ô˘ ϤÔÓ ıˆÚÔ‡ÓÙ·È ÎÏ·ÛÈΤ˜ Ù·Èӛ˜ ÂÈÚ·Ì·ÙÈÎÔ‡ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘. ∆· ÈÔ ÁÓˆÛÙ¿ ÙÔ˘ ¤ÚÁ· Â›Ó·È ÔÈ Ù·Èӛ˜-ËÌÂÚÔÏfiÁÈ·, Ì ÌÈ· ÌÂıÔ‰ÔÏÔÁ›· ηÈ
·ÈÛıËÙÈ΋ Ô˘ ¯ÚËÛÈÌÔÔÈ› Û fiϘ ۯ‰fiÓ ÙȘ Ù·Èӛ˜ ÙÔ˘.
ø˜ ÚˆÙÔfiÚÔ˜ ÙÔ˘ ÂÈÚ·Ì·ÙÈÎÔ‡ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘, Ô °›ÔÓ·˜ ª¤Î·˜ ¿ÛÎËÛ ÌÂÁ¿ÏË ÂÈÚÚÔ‹. ∞fi ÙÔ 1953 ÔÚÁ¿ÓˆÓ ÚÔ‚ÔϤ˜ ·‚·ÓÁοÚÓÙ Ù·ÈÓÈÒÓ. ÿ‰Ú˘Û ÙÔ Film Culture Magazine Î·È ¤ÁÚ·ÊÂ
¿ÚıÚ· ÁÈ· ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ÛÙËÓ ÂÊËÌÂÚ›‰· Village Voice
(1958-1975). À‹ÚÍÂ È‰Ú˘Ù‹˜ Î·È Úfi‰ÚÔ˜ Ù˘ ÂÙ·ÈÚ›·˜ ‰È·ÓÔÌ‹˜
Film Makers’ Cooperative (1961-1980) ηıÒ˜ Î·È È‰Ú˘Ù‹˜ Ù˘ Film
Makers’ Cinemateque (1964), fiÔ˘ ÚÔ‚¿ÏÏÔÓÙ·Ó ÂÈÚ·Ì·ÙÈΤ˜
Ù·Èӛ˜. ∆Ô 1970 ÍÂΛÓËÛ ÛÙË ¡¤· ÀfiÚÎË Ù· ∞گ›· ∫ÈÓËÌ·ÙÔÁÚ·ÊÈ΋˜ ∞ÓıÔÏÔÁ›·˜ –¤Ó· ·fi Ù· ϤÔÓ Âͤ¯ÔÓÙ· ÎÈÓËÌ·ÙÔÁÚ·ÊÈο ȉڇ̷ٷ, Ì ¤Ó· ·Ú¯Â›Ô ·fi Ù· ÏÔ˘ÛÈfiÙÂÚ· (‰È·ı¤ÙÂÈ ÂÚÈÛÛfiÙÂÚÔ˘˜ ·fi 120 ¯ÈÏÈ¿‰Â˜ Ù›ÙÏÔ˘˜), fiÔ˘ Â›Ó·È ·ÎfiÌ· ηÏÏÈÙ¯ÓÈÎfi˜ ‰È¢ı˘ÓÙ‹˜. Œ¯ÂÈ Â›Û˘ ‰È‰¿ÍÂÈ Î·È ÚÔ‚¿ÏÂÈ Ù·Èӛ˜ Û ·ÚÎÂÙ¿ ·ÓÂÈÛÙ‹ÌÈ· Î·È Û¯ÔϤ˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Û ∏¶∞, ¡fiÙÈÔ ∞ÌÂÚÈ΋, ∂˘ÚÒË Î·È ∞Û›·.
√È È‰ÈfiÙËÙ˜ ÙÔ˘ ‰ËÌÈÔ˘ÚÁÔ‡, ÙÔ˘ Û˘ÁÁڷʤ·, ÙÔ˘ ‰ÈÔÚÁ·ÓˆÙ‹ ηÈ
˘ÔÛÙËÚÈÎÙ‹ ÙÔ˘ ·‚·ÓÁοÚÓÙ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Û˘Ó˘¿Ú¯Ô˘Ó ÛÙË
˙ˆ‹ Î·È ÙËÓ ÚÔÛˆÈÎfiÙËÙ· ÙÔ˘ ª¤Î·˜. √È ›‰È˜ ÙÔ˘ ÔÈ Ù·Èӛ˜ ·ÚÔ˘ÛÈ¿˙Ô˘Ó ÙË ˙ˆ‹ ÙÔ˘, Ë ÔÔ›· ¤ÙÛÈ Û˘Ó˘¿Ú¯ÂÈ Ì ÙÔ ¤ÚÁÔ ÙÔ˘.
™ÙȘ Ù·Èӛ˜ ·˘Ù¤˜ ¯ÚËÛÈÌÔÔÈ› ÙËÓ ÔÈÎÔÁ¤ÓÂÈ· ÙÔ˘, ηıÒ˜ Î·È Î·ÏÏÈÙ¤¯Ó˜, ÔÈËÙ¤˜, ÌÔ˘ÛÈÎÔ‡˜ Î·È Ê›ÏÔ˘˜ ÙÔ˘˜, ÌÂٷ͇ ÙˆÓ ÔÔ›ˆÓ Ô
ÕÓÙÈ °Ô˘fiÚ¯ÔÏ (Ô ª¤Î·˜ ‹Ù·Ó οÌÂÚ·Ì·Ó ÛÙËÓ Ù·ÈÓ›· ÙÔ˘ Empire
Î·È ‹Ù·Ó Ô ÚÒÙÔ˜ Ô˘ ·ÚÔ˘Û›·Û ÙȘ Ù·Èӛ˜ ÙÔ˘ °Ô˘fiÚ¯ÔÏ Î·È ¤ÁÚ·„ ÁÈ· ·˘Ù¤˜), Ô ∆˙ÔÓ §¤ÓÔÓ Î·È Ë °ÈfiÎÔ ŸÓÔ, Ô ÕÏÂÓ °Î›ÓÛÌÂÚÁÎ, Ô ∆˙ÔÚÙ˙ ª·ÎÈÔ‡Ó·˜, Ô ¡·Ì ∆˙Ô˘Ó ¶¿ÈÎ Î·È Ôχ ¿ÏÏÔÈ. °È’ ·˘Ùfi
Ô ª¤Î·˜ ¯·Ú·ÎÙËÚ›˙ÂÈ ÔÚÙÚ¤Ù· ·ÚÎÂÙ¤˜ ·fi ÙȘ Ù·Èӛ˜ ÙÔ˘, ÚÔÛ‰›‰ÔÓÙ·˜ ¤ÙÛÈ ·ÎfiÌ· Ì›· ‰È¿ÛÙ·ÛË ÛÙȘ Ù·Èӛ˜-ËÌÂÚÔÏfiÁÈ· ÙÔ˘.
∆· ·˘ÙÔ‚ÈÔÁÚ·ÊÈο Î·È Ù· ‚ÈÔÁÚ·ÊÈο ÛÙÔȯ›· Â›Ó·È ¿ÚÚËÎÙ· Û˘Ó‰Â‰Â̤ӷ. ªÂ ÙËÓ Î¿ÌÂÚ¿ ÙÔ˘ η٤ÁÚ·Ê fiÛ· Û˘Ó¤‚·ÈÓ·Ó Á‡Úˆ
ÙÔ˘. √ ª¤Î·˜ ¿ÓËΠÛÙËÓ ÂÓÂÚÁ‹ ηÏÏÈÙ¯ÓÈ΋ ÛÎËÓ‹ ÙÔ˘ ™fi¯Ô. (∆Ô
1967 Ô ›‰ÈÔ˜ Ì·˙› Ì ÙÔÓ Û˘Ì·ÙÚÈÒÙË ÙÔ˘ ∆˙ÔÚÙ˙ ª·ÎÈÔ‡Ó·˜ ›‰Ú˘Û·Ó ÌÈ· ηÏÏÈÙ¯ÓÈ΋ ÎÔÔÂÚ·Ù›‚· Û ¤Ó· ÎÙ›ÚÈÔ ÛÙÔÓ ·ÚÈıÌfi 80
Ù˘ °Ô‡ÛÙÂÚ ™ÙÚÈÙ.) ∂ΛÓË ÙËÓ ÂÚ›Ô‰Ô ÙÔ ™fi¯Ô ·Ó·‰˘fiÙ·Ó ˆ˜ ÌÈ·
¿ÎÚˆ˜ ‰ËÌÈÔ˘ÚÁÈ΋ ÛÎËÓ‹ ηÏÏÈÙ¯ÓÒÓ, ÌÔ˘Ù›Î Î·È Ô›ÎˆÓ Ìfi‰·˜,
ÎÈÓËÌ·ÙÔÁÚ·ÊÈÛÙÒÓ. ™Ù· ̤۷ ÙÔ˘ 1980 ÙÔ ™fi¯Ô ›¯Â Á›ÓÂÈ ÌÈ· ·ÎÚÈ‚‹ ÁÂÈÙÔÓÈ¿ Î·È ÔÈ Î·ÏÏÈÙ¤¯Ó˜ ÌÂÙ·ÎfiÌÈÛ·Ó Û ÈÔ ÊÙËÓ¤˜ ÂÚÈÔ¯¤˜.
ŸÌˆ˜ Ô ª¤Î·˜ ·Ú¤ÌÂÈÓÂ Î·È ‰ÂÓ ÌÂÙ·ÎfiÌÈÛ ·Ú¿ ÌfiÏȘ ÙÔ 2004
ÛÙÔ ªÚÔ‡ÎÏÈÓ, fiÔ˘ ›¯Â Ì›ÓÂÈ fiÙ·Ó ¤ÊÙ·Û ÚÒÙË ÊÔÚ¿ ÛÙË ¡¤·
166
ECOFILMS
ƒ√¢√™
2006
RODOS
ÀfiÚÎË. ∏ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ÂÁηٿÛÙ·ÛË ∞Ô¯·ÈÚÂÙÈÛÌfi˜ ÛÙÔ ™fi¯Ô (2004) Â›Ó·È ÙÔ ÁÏ˘ÎfiÈÎÚÔ ·ÓÙ›Ô ÙÔ˘ ª¤Î·˜ fi¯È ÌfiÓÔ Û ÌÈ· ÁÂÈÙÔÓÈ¿, Ì· Û ÌÈ· ÔÏfiÎÏËÚË ÂÔ¯‹. ∏ ¡¤· ÀfiÚÎË ˘‹ÚÍ ¿ÓÙ· ¤Ó·
·fi Ù· ΢ÚÈfiÙÂÚ· ÎÈÓËÌ·ÙÔÁÚ·ÊÈο ÌÔÙ›‚· ÙÔ˘ ª¤Î·˜.
√È Ù·Èӛ˜-ËÌÂÚÔÏfiÁÈ· ÙÔ˘ ª¤Î·˜ Û˘Ó·Ú¿˙Ô˘Ó ÁÈ· ‰‡Ô ÏfiÁÔ˘˜:
ÚÒÙÔÓ ÁÈ· ÙÔÓ ÂÍ·›ÛÈÔ ÙÚfiÔ Ì ÙÔÓ ÔÔ›Ô ·ÚÔ˘ÛÈ¿˙Ô˘Ó ÙËÓ ÔÌÔÚÊÈ¿ Î·È ÙËÓ ·ÚÔ‰È΋ ʇÛË Ù˘ ˙ˆ‹˜, ÙfiÛÔ Û ηıËÌÂÚÈÓ¤˜ ηٷÛÙ¿ÛÂȘ fiÛÔ Î·È ÛÙÔ Î·ÏÏÈÙ¯ÓÈÎfi-ÈÛÙÔÚÈÎfi Ï·›ÛÈÔ ÛÙÔ ÔÔ›Ô ·Ó‹ÎÂÈ. ∞˘Ù‹ Ë Ù˘¯‹ ÙÔ˘ ¤ÚÁÔ˘ ·ÚÔ˘ÛÈ¿˙ÂÈ ·ÚÎÂÙ¿ ÂÈÏÈÎÚÈÓ‹ ˘·ÚÍȷο ˙ËÙ‹Ì·Ù· Ô˘ ·ÊÔÚÔ‡Ó ÛÙË ˙ˆ‹ Î·È ÙËÓ ÂÍÔÚ›·. ¢Â‡ÙÂÚÔÓ, ı¤ÙÔ˘Ó ÂÚˆÙ‹Ì·Ù· Û¯ÂÙÈο Ì ÙÔÓ ›‰ÈÔ ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ˆ˜
̤ÛÔ –ÙË Ê‡ÛË ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Î·È Ò˜ Û¯ÂÙ›˙ÂÙ·È Ì ÙÔ ¯ÚfiÓÔ.
ªÈ· Ù·ÈÓ›·-ËÌÂÚÔÏfiÁÈÔ ¤¯ÂÈ ÌÈ· ȉȷ›ÙÂÚË Û¯¤ÛË Ì ÙÔ ¯ÚfiÓÔ, ÎÈ ¤ÙÛÈ
‰È·Ê¤ÚÂÈ ·ÚÎÂÙ¿ ·fi ÙËÓ ÈÔ ·Ú·‰ÔÛȷ΋ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ·Ê‹ÁËÛË, ‰›ÓÔÓÙ·˜ ¤ÌÊ·ÛË ÛÙË ‰˘Ó·ÙfiÙËÙ· ηٷÁÚ·Ê‹˜ Ù˘ ÛÙÈÁÌ‹˜
Ô˘ ÂÚÓ¿. ∞˘Ùfi Ô˘ οÓÂÈ ÙȘ Ù·Èӛ˜ ÙÔ˘ ª¤Î·˜ Ó· ͯˆÚ›˙Ô˘Ó Â›Ó·È ˆ˜ ÙÔÓ›˙Ô˘Ó Û ·ÎfiÌ· ÌÂÁ·Ï‡ÙÂÚÔ ‚·ıÌfi ÙËÓ ·˘ı·›ÚÂÙË ÂÈÏÔÁ‹ ÎÈÓËÌ·ÙÔÁÚ·ÊËÌ¤ÓˆÓ ÛÙÈÁÌÈfiÙ˘ˆÓ, οÙÈ Ô˘ ¤¯ÂÈ ˆ˜ Û˘Ó¤ÂÈ· Ó· ÂÓÙ›ÓÂÙ·È Ë ·›ÛıËÛË Ù˘ ·ÚÔ‰ÈÎfiÙËÙ·˜. ∏ οÌÂÚ· ÛÙÔ ¯¤ÚÈ
‰ËÌÈÔ˘ÚÁ› ¤Ó·Ó ¿ÌÂÛÔ Û‡Ó‰ÂÛÌÔ Ì ÙËÓ ˘ÔÎÂÈÌÂÓÈ΋ Ì·ÙÈ¿ ÙÔ˘
°ÈfiÓ·˜ ª¤Î·˜ Î·È ÙȘ ÌÂÙ·ÎÈÓ‹ÛÂȘ ÙÔ˘ ÛÙË ¡¤· ÀfiÚÎË, ‹ Û fiÔÈÔ
¿ÏÏÔ ÛËÌÂ›Ô ‚Ú›ÛÎÂÙ·È. ¶·Ú·ÎÔÏÔ˘ıԇ̠·ÔÛ¿ÛÌ·Ù· ÙˆÓ ËÌÂÚÒÓ ÙÔ˘. √È ·Ú¿ÏÏËϘ ‰Ú¿ÛÂȘ Î·È Ô ¯·Ì¤ÓÔ˜ ¯ÚfiÓÔ˜ Ô˘ ‰ÂÓ
ηٷÁÚ¿ÊÔÓÙ·È ·fi ÙËÓ Î¿ÌÂÚ·, Ú¤ÂÈ Ó· Û˘ÌÏËÚˆıÔ‡Ó ·fi ÙȘ
ÛΤ„ÂȘ Î·È Ù· Û˘Ó·ÈÛı‹Ì·Ù· ÙÔ˘ ı·ً.
¶ÚÈÓ ·fi ÌÈ· ÚÔ‚ÔÏ‹ Ù˘ Ù·ÈÓ›·˜ ∏ÌÂÚÔÏfiÁÈ·, ™ËÌÂÈÒÛÂȘ ηÈ
™¯¤‰È· (Walden) ÛÙÔ ªÔ˘ÛÂ›Ô ªÔÓÙ¤ÚÓ·˜ ∆¤¯Ó˘ ÛÙË ¡¤· ÀfiÚÎË Ô
°ÈfiÓ·˜ ª¤Î·˜ ¤ÁÚ·„ ٷ ÂÍ‹˜: ∞fi ÙÔ 1950 ÎÚ·Ù¿ˆ ÌÈ· Ù·ÈÓ›·-ËÌÂÚÔÏfiÁÈÔ. ∆ÚÈÁ˘ÚÓÔ‡Û· Ì ÙËÓ Î¿ÌÂÚ¿ ÌÔ˘ Î·È ·ÓÙȉÚÔ‡Û· ÛÙËÓ
ÙÚ¤¯Ô˘Û· Ú·ÁÌ·ÙÈÎfiÙËÙ·, Û fiÛ· Û˘Ó¤‚·ÈÓ·Ó, Ê›ÏÔ˘˜, ÙË ¡¤·
ÀfiÚÎË, ÙȘ ÂÔ¯¤˜ ÙÔ˘ ¯ÚfiÓÔ˘. ∫¿ÔȘ ̤Ú˜ ÙÚ·‚Ô‡Û· ‰¤Î· ηڤ,
¿ÏϘ ‰¤Î· ‰Â˘ÙÂÚfiÏÂÙ·, οÔȘ ¿ÏϘ ¿ÏÈ ‰¤Î· ÏÂÙ¿. ◊ Î·È Ù›ÔÙ·. ŸÙ·Ó οÔÈÔ˜ ÎÚ·Ù¿ ËÌÂÚÔÏfiÁÈÔ Â›Ó·È ÌÈ· ‰È·‰Èηۛ· ·Ó·ÛÎfiËÛË˜Ø Î¿ıÂÛ·È, ı˘Ì¿Û·È ÙË Ì¤Ú· ÛÔ˘ Î·È ÛËÌÂÈÒÓÂȘ ÙÈ ¤Î·Ó˜.
ŸÙ·Ó ÎÚ·Ù¿˜ Ù·ÈÓ›·-ËÌÂÚÔÏfiÁÈÔ Û˘ÓÂ¿ÁÂÙ·È ˆ˜ ·ÓÙȉڿ˜ ·Ì¤Ûˆ˜, ÂΛÓË ÙË ÛÙÈÁÌ‹, ›Ù ηٷÁÚ¿ÊÂȘ οÙÈ ‹ ‰ÂÓ ÙÔ Î·Ù·ÁÚ¿ÊÂȘ
ηıfiÏÔ˘. ∆Ô Ó· ÂÈÛÙÚ¤„ÂȘ Î·È Ó· ÎÈÓËÌ·ÙÔÁÚ·Ê‹ÛÂȘ οÙÈ ·ÚÁfiÙÂÚ·, Û˘ÓÂ¿ÁÂÙ·È ·Ó··Ú¿ÛÙ·ÛË, ›Ù ÁÂÁÔÓfiÙˆÓ Â›ÙÂ Û˘Ó·ÈÛıËÌ¿ÙˆÓ. ∆Ô Ó· ÙÔ Î·Ù·ÁÚ¿„ÂȘ ÂÓÒ Û˘Ì‚·›ÓÂÈ, ··ÈÙ› ·fiÏ˘ÙË ÁÓÒÛË ÙÔ˘ ̤ÛÔ˘ (ÛÙË Û˘ÁÎÂÎÚÈ̤ÓË ÂÚ›ÙˆÛË, Ù˘ οÌÂÚ·˜ ªfiÏÂÍ):
Ú¤ÂÈ Ó· ηٷÁÚ¿„ÂÈ ÙË Û˘Ó·ÈÛıËÌ·ÙÈ΋ ÌÔ˘ ηٿÛÙ·ÛË (Î·È ÙȘ
ÌӋ̘) ÂÓÒ ·ÓÙȉÚÒ. ∫¿ÙÈ Ô˘ ÛËÌ·›ÓÂÈ ˆ˜ ¤ÚÂ ӷ ÛÙ‹Ûˆ fiÏË
ÙË ‰ÔÌ‹ (ÌÔÓÙ¿˙) ÂÈÙfiÔ˘, ηٿ ÙËÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊËÛË, ÛÙËÓ Î¿ÌÂÚ·.
∞ÔÛ¿ÛÌ·Ù· ·fi:
∫·ıÒ˜ Ë ˙ˆ‹ ÂÚÓ¿ ̤۷ ·fi ÙËÓ Î¿ÌÂÚ·
ª¿ÁÎÓÔ˘˜ ¶¤ÙÂÚÛÂÓ˜
∂ÈÌÂÏËÙ‹˜ ÙÔ˘ Moderna Museet (™ÙÔίfiÏÌË)
Jonas Mekas: The Diary Film
Jonas Mekas was born in the small village of Semeniskiai in
Lithuania in 1922, where he grew up on a farm. At the end of the
Second World War, he was an intern in a Nazi prison camp in
Hamburg. He went on to study philosophy at the University of
Mainz, Germany, and moved to New York in 1949. Jonas Mekas is
also a poet and has published numerous volumes of poetry.
Above all, Jonas Mekas has been seminal to experimental film
since the early 1950s , both as an artist and as an indefatigable
promoter and organizer. As a film-maker –Mekas prefers to call
himself that rather than artist- he has made several films that are
now considered experimental film classics. His most famous works
are his diary films, a method and an aesthetic that he applies in
practically all of his films.
As a driving force of experimental film-making, Jonas Mekas has
had an enormous influence. He has been organizing screenings of
avant-garde films since 1953. He founded Film Culture Magazine
and has also written about film in Village Voice (1958-1975). He
was founder and president of the distribution agent Film Makers’
Cooperative (1961-1980) and also founded Film Makers’
Cinemateque (1964), which screened experimental film. In 1970,
he started the Anthology Film Archives in New York –one of the
chief film institutions, with one of the world’s largest archives
(comprising more than 120,000 titles), of which he is still the
artistic director. He has also taught and shown film at numerous
universities and film schools in the USA, South America, Europe
and Asia.
The roles as film-maker, writer, organizer and promoter of avantgarde film are merged in Mekas’ life and person. His own films
portray his life, which is thus interwoven with his work. In these
films he uses his family, along with artists, poets, musicians –and
his friends, including Andy Warhol (Mekas was the cameraman for
his film Empire and was the first to show and write about several
of his films), John Lennon and Yoko Ono, Allen Ginsberg, George
Maciunas, Nam June Paik and many, many others. Mekas
consequently describes many of his films as portraits, and they
provide yet another perspective on Mekas’ diary films.
The autobiographic and the biographic are, of course, intimately
related. With his camera he captured what went on around him.
Mekas was part of the lively art scene in Soho. (In 1967, he and his
fellow countryman George Maciunas started an artist cooperative
in a building on 80 Wooster Street.) At the time, Soho was
emerging as a vibrant scene for artists, film-makers, and
eventually, galleries. These were followed by cafes, boutiques and
fashion houses, and by the mid-1980s Soho had become an
expensive neighborhood –and the artist moved to cheaper areas.
Mekas stayed behind, however, and did not move to Brooklyn,
where he had first lived on arriving in New York, until 2004. The
film installation Farewell to Soho (2004) is Mekas’ bitter-sweet
adieu not only to a neighborhood but to an entire era. New York
has always been one of Mekas’ main film motifs.
Mekas’ diary films fascinate primarily for two reasons: firstly, for
the exquisite way they portray the beauty and transience of life,
both in everyday situations an in the art historic context to which
he belongs. This aspect raises many veritably existential issues
concerning life and living in exile. Secondly, they pose questions
about the film medium itself –the nature of film, and how it
relates to time.
The diary film has a special relationship to time and thus differs in
many ways from the more traditional narrative film in that it
accentuates the ability to capture the fleeting moment. What sets
Mekas’ films apart is that they emphasize the arbitrary choice of
filmed instances to an even greater extent –which, in turn
enhances the feeling of transience. The hand-held camera creates
a direct link to Jonas Mekas’ subjective seeing and his movements
through New York, or wherever he happens to be. What we see
are fragments of his days. Parallel events and the lost time that the
camera does not capture have to be supplied by the viewer’s own
thoughts and feelings.
Prior to a screening of Diaries, Notes & Sketches (Walden) (1969) at
the Museum of Modern Art in New York, Jonas Mekas wrote,
"Since 1950 I have been keeping a film diary. I have been walking
around with my Bolex and reacting to the immediate reality;
situations, friends, New York, seasons of the year. On some days I
shoot ten frames, on others I shoot ten seconds, still on other ten
minutes. Or I shoot nothing. When one writes diaries, it’s a
retrospective process; you sit down, you look back at your day and
you write it all down. To keep a film (camera) diary is to react
immediately, now this instant, either you get it now or you don’t’
get it at all. To go back and shoot it later, it would mean restaging,
be it events or feelings. To get it now, as it happens, demands
total mastery of one’s tool (in this case, Bolex): it has to register my
state of feeling (and the memories) as I react. Which also means
that I had to do all the structuring (editing) right there, during
shooting, in the camera."
Extracts from:
As life passes through the camera
Magnus af Petersens
Curator, Moderna Museet
Translations: Gabriella Berggren
ECOFILMS
ƒ√¢√™
2006
RODOS
167
∞ÔÛ¿ÛÌ·Ù· ·fi ÌÈ· ‰È¿ÏÂÍË ÙÔ˘ °ÈfiÓ·˜ ª¤Î·˜
ÁÈ· ÙËÓ Ù·ÈÓ›· ∞Ó·ÌÓ‹ÛÂȘ ÂÓfi˜ Ù·ÍȉÈÔ‡ ÛÙË §ÈıÔ˘·Ó›·
√È «∞Ó·ÌÓ‹ÛÂȘ…» ¤¯Ô˘Ó ÙË ‰ÔÌ‹ ÙÔ˘ ÛËÌÂȈ̷ٿÚÈÔ˘, ‹ ÙÔ˘ ËÌÂÚÔÏÔÁ›Ô˘, ÌÈ·
ÊfiÚÌ· ÛÙËÓ ÔÔ›· ·Ó‹ÎÂÈ ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ
̤ÚÔ˜ ÙÔ˘ ‡ÛÙÂÚÔ˘ ¤ÚÁÔ˘ ÌÔ˘. ¢ÂÓ Â›¯· ÌÂÁ¿Ï· ¯ÚÔÓÈο ÂÚÈıÒÚÈ· ÁÈ· Ó· ÂÙÔÈÌ¿Ûˆ
οÔÈÔ ÛÂÓ¿ÚÈÔ, Ó· ‚Úˆ ÌÂÙ¿ ÙÔ ¯ÚfiÓÔ Ó·
ÙÔ Á˘Ú›Ûˆ, Ó· ÙÔ ÌÔÓÙ¿Úˆ ÎÙÏ. ∂›¯· ÌfiÓÔ Ï›ÁÔ ¯ÚfiÓÔ Ô˘ ÌÔ˘ Â¤ÙÚÂ ӷ ÎÈÓËÌ·ÙÔÁÚ·ÊÒ Ï›ÁÔ ˘ÏÈÎfi. ŸÏË Ë ÚÔÛˆÈ΋ ÌÔ˘
‰Ô˘ÏÂÈ¿ η٤ÏËÍÂ Û·Ó ÛËÌÂÈÒÛÂȘ, ¤ÏÂÁ·,
Ú¤ÂÈ Ó· οӈ fi,ÙÈ ÌÔÚÒ Û‹ÌÂÚ·, ÁÈ·Ù› ·Ó
‰ÂÓ ÙÔ Î¿Óˆ, ‰ÂÓ ı· ‚Úˆ ÂχıÂÚÔ ¯ÚfiÓÔ
ÁÈ· Ôχ ηÈÚfi. ∞Ó ÌÔÚÒ Ó· ÙÚ·‚‹Íˆ ¤Ó·
ÏÂÙfi, ı· ÙÚ·‚‹Íˆ ¤Ó· ÏÂÙfi. ∞Ó ÌÔÚÒ Ó·
ÙÚ·‚‹Íˆ ‰¤Î· ‰Â˘ÙÂÚfiÏÂÙ·, ı· ÙÚ·‚‹Íˆ
‰¤Î· ‰Â˘ÙÂÚfiÏÂÙ·. ∞Ú¿˙ˆ fi,ÙÈ ÌÔÚÒ, ·fi ·ÂÏÈÛ›·. ª· ÁÈ· ·ÚÎÂÙfi ηÈÚfi ‰ÂÓ Â›¯·
‰ÂÈ ÙÔ ˘ÏÈÎfi Ô˘ Û˘ÁΤÓÙÚˆÓ· Ì ·˘Ùfi ÙÔÓ
ÙÚfiÔ. £ÂˆÚÔ‡Û· ˆ˜ ÛÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· ¤Î·Ó· ÚÔfiÓËÛË. ¶ÚÔÂÙÔÈÌ·˙fiÌÔ˘Ó,
ÎÚ·ÙÔ‡Û· ÌÈ· Â·Ê‹ Ì ÙËÓ Î¿ÌÂÚ¿ ÌÔ˘, ÒÛÙ fiÙ·Ó ¤ÊÙ·ÓÂ Ë ÛÙÈÁÌ‹ Ô˘ ı· ›¯· ¯ÚfiÓÔ, ı· Á‡ÚÈ˙· ÌÈ· «Î·ÓÔÓÈ΋» Ù·ÈÓ›·.
∫·ıÒ˜ ÎÔÈÙÔ‡Û· ÙÔ ·ÏÈfi ÌÔ˘ ˘ÏÈÎfi, ·Ú·Ù‹ÚËÛ· ˆ˜ ˘‹Ú¯·Ó Û˘Ó‰ÂÙÈο ÛÙÔȯ›·
Û ·˘Ùfi. ∆Ô ˘ÏÈÎfi Ô˘ ıˆÚÔ‡Û· ˆ˜ ı· ‹Ù·Ó ÂÓÙÂÏÒ˜ ·Û‡Ó‰ÂÙÔ, ¿Ú¯ÈÛ ͷÊÓÈο Ó·
ÌÔÈ¿˙ÂÈ Ì ¤Ó· ÛËÌÂȈ̷ٿÚÈÔ Ì ÔÏÏ¿
Û˘Ó‰ÂÙÈο ÛÙÔȯ›·, ·ÎfiÌ· Î·È ¤ÙÛÈ ·ÓÔÚÁ¿ÓˆÙÔ. ∫¿ÙÈ Ô˘ Ì η٤ÏËÍ ‹Ù·Ó ˆ˜ ˘‹Ú¯·Ó ÛÙÔȯ›· ÛÙÔ ˘ÏÈÎfi Ô˘ ÂÌÊ·Ó›˙ÔÓÙ·Ó Í·Ó¿ Î·È Í·Ó¿. ∂ÁÒ ÓfiÌÈ˙· ˆ˜ οıÂ
ÊÔÚ¿ Ô˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÔ‡Û· οÙÈ ¿ÏÏÔ, fiÓÙˆ˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÔ‡Û· οÙÈ ¿ÏÏÔ. ª· ·˘Ùfi ‰ÂÓ ›Û¯˘Â. ¢ÂÓ ‹Ù·Ó ¿ÓÙ· «Î¿ÙÈ ¿ÏÏÔ».
∂¤ÛÙÚÂÊ· ÛÙ· ›‰È· ı¤Ì·Ù·, ÛÙȘ ›‰È˜ ÂÈÎfiÓ˜ ‹ ËÁ¤˜ ÂÈÎfiÓˆÓ. Ÿˆ˜ ÁÈ· ·Ú¿‰ÂÈÁÌ·,
ÙÔ ¯ÈfiÓÈ. ¢ÂÓ ˘¿Ú¯ÂÈ Û¯Â‰fiÓ Î·ıfiÏÔ˘ ¯ÈfiÓÈ
ÛÙË ¡¤· ÀfiÚÎËØ fiÏÔ ÌÔ˘ ÙÔ ˘ÏÈÎfi ·fi ÙË
¡¤· ÀfiÚÎË ÙËÓ ·ÚÔ˘ÛÈ¿˙ÂÈ ÁÂÌ¿ÙË ¯ÈfiÓÈ.
◊ Ù· ‰¤ÓÙÚ·. ¶fiÛ· ‰¤ÓÙÚ· ‚ϤÂȘ ÛÙÔ˘˜
‰ÚfiÌÔ˘˜ Ù˘ ¡¤·˜ ÀfiÚ΢; ŸÛÔ ÌÂÏÂÙÔ‡Û·
ÙÔ ˘ÏÈÎfi Î·È ÙÔ ·Ó¤Ï˘·, Û˘Ó¤Ï·‚· ÙË ‰ÔÌ‹
ÌÈ·˜ Ù·ÈÓ›·˜-ËÌÂÚÔÏÔÁ›Ô˘, Î·È ·˘Ùfi Ê˘ÛÈο
¿Ú¯ÈÛ ӷ ÂËÚ¿˙ÂÈ ÙÔÓ ÙÚfiÔ ÎÈÓËÌ·ÙÔÁÚ¿ÊËÛ‹˜ ÌÔ˘, ÙÔ ‡ÊÔ˜ ÌÔ˘. ∫·È ηٿ οÔÈÔ ÙÚfiÔ ·˘Ùfi Ì ‚Ô‹ıËÛ ӷ ¤¯ˆ ÙËÓ ËÚÂÌ›· ÌÔ˘. ™ÎÂÊÙfiÌÔ˘Ó «ÂÓÙ¿ÍÂÈ, Ôχ ηϿ –ÎÈ ·Ó ‰ÂÓ ¤¯ˆ ÙÔ ¯ÚfiÓÔ Ó· ·ÊÈÂÚÒÛˆ ¤ÍÈ ‹ ÂÙ¿ Ì‹Ó˜ ÁÈ· Ó· οӈ ÌÈ· Ù·ÈÓ›·, ‰Â
168
ı· Ûοۈ ÎÈfiÏ·˜Ø ı· ÎÈÓËÌ·ÙÔÁÚ·ÊÒ ÌÈÎÚ¤˜ ÛËÌÂÈÒÛÂȘ, ̤ڷ-̤ڷ, οı ̤ڷ».
∫¿ÔÈ· ÛÙÈÁÌ‹ Û˘ÓÂȉËÙÔÔ›ËÛ· ˆ˜ ·˘Ùfi
Ô˘ ¤ÏÂÈ ·fi ÙÔ ˘ÏÈÎfi ÌÔ˘ ‹Ù·Ó Ô ›‰ÈÔ˜
ÌÔ˘ Ô Â·˘Ùfi˜: Ë Û˘ÌÂÚÈÊÔÚ¿ ÌÔ˘, ÔÈ ÛΤ„ÂȘ ÌÔ˘, Ù· Û˘Ó·ÈÛı‹Ì·Ù¿ ÌÔ˘ ÙË ÛÙÈÁÌ‹
Ô˘ ÎÔ›Ù·˙· ÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· Ô˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÔ‡Û·. ∏ Û˘ÁÎÂÎÚÈ̤ÓË Ú·ÁÌ·ÙÈÎfiÙËÙ·, Ë Û˘ÁÎÂÎÚÈ̤ÓË ÏÂÙÔ̤ÚÂÈ·, Ë ÔÔ›· ÂÍ·Ú¯‹˜ ÚÔοÏÂÛ ÙÔ ÂӉȷʤÚÔÓ
ÌÔ˘ ÏfiÁˆ ÙˆÓ ·Ó·ÌÓ‹ÛÂÒÓ ÌÔ˘, ÙÔ˘ ·ÚÂÏıfiÓÙÔ˜ ÌÔ˘. ∂¤ÏÂÍ· ÙË Û˘ÁÎÚÈ̤ÓË ÏÂÙÔ̤ÚÂÈ· Ì fiÏÔ ÌÔ˘ ÙÔ Â›Ó·È, Ì fiÏÔ ÌÔ˘
ÙÔ ·ÚÂÏıfiÓ. ∏ ÚfiÎÏËÛË Â›Ó·È ϤÔÓ, Ó·
ηٷÁÚ¿„ˆ ·˘Ù‹ ÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ·, ·˘Ù‹ ÙË ÏÂÙÔ̤ÚÂÈ·, ·˘Ùfi ÙÔ ¿ÎÚˆ˜ ·ÓÙÈÎÂÈÌÂÓÈÎfi, ·Ùfi ÎÔÌÌ¿ÙÈ Ù˘ Ú·ÁÌ·ÙÈÎfiÙËÙ·˜, fiÛÔ ÙÔ ‰˘Ó·ÙfiÓ ÈÛÙfiÙÂÚ· Û ۯ¤ÛË Ì ÙËÓ
ÚÔÛˆÈ΋ ÌÔ˘ ıÂÒÚËÛË. º˘ÛÈο, ·˘Ùfi
Ô˘ ·ÓÙÈÌÂÙÒÈÛ· ‹Ù·Ó ÙÔ ÚÔ·ÈÒÓÈÔ ˙‹ÙËÌ· οı ηÏÏÈÙ¤¯ÓË: Ô Û˘ÁÎÂÚ·ÛÌfi˜ ¶Ú·ÁÌ·ÙÈÎfiÙËÙ·˜ Î·È ¶ÚÔÛˆÈÎfiÙËÙ·˜, Ë Û‡ÏÏË„Ë ÙÔ˘ ÙÚ›ÙÔ˘ ̤ÚÔ˘˜. ŒÚÂ ӷ ·ÂÏ¢ıÂÚÒÛˆ ÙËÓ Î¿ÌÂÚ· ·fi ÙÔ ÙÚ›Ô‰Ô Î·È Ó·
˘ÈÔıÂÙ‹Ûˆ οı Ù¯ÓÈ΋ Î·È Ì¤ıÔ‰Ô ˘ÔÎÂÈÌÂÓÈ΋˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊËÛ˘ Ô˘ ›Ù ˘‹Ú¯·Ó ‹‰Ë, ›Ù ÌfiÏȘ ÚˆÙÔÂÌÊ·Ó›˙ÔÓÙ·Ó. ◊Ù·Ó ÌÈ· ·Ô‰Ô¯‹ Î·È ·Ó·ÁÓÒÚÈÛË
ÙˆÓ ÂÈÙ¢ÁÌ¿ÙˆÓ ÙÔ˘ ·‚·ÓÁοÚÓÙ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÙˆÓ ÙÂÏÂ˘Ù·›ˆÓ ÂÓ‹ÓÙ· ÂÙÒÓ.
∂ËÚ¤·Û ÙȘ Ú˘ıÌ›ÛÂȘ ÙÔ˘ ‰È·ÊÚ¿ÁÌ·ÙÔ˜,
ÙȘ ÎÈÓ‹ÛÂȘ, ÙÔ Ú˘ıÌfi, Ù· ¿ÓÙ·. ŒÚÂ ӷ
ÍÂÊÔÚÙˆıÒ ÙȘ ·Î·‰ËÌ·˚Τ˜ ·ÓÙÈÏ‹„ÂȘ ÂÚ› «Î·ÓÔÓÈÎÒÓ» Ú˘ıÌ›ÛÂˆÓ ÙÔ˘ ‰È·ÊÚ¿ÁÌ·ÙÔ˜, «Î·ÓÔÓÈ΋˜» ΛÓËÛ˘, ‹ ÔÙȉ‹ÔÙÂ
¿ÏÏÔ˘ «Î·ÓÔÓÈÎÔ‡». ŒÚÂ ӷ Û˘ÌÂÚÈÏ¿‚ˆ ÙÔÓ Â·˘Ùfi ÌÔ˘, Ó· ÂÓˆıÒ Ì ÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· Ô˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÔ‡Û·, Ó·
Û˘ÌÌÂÙ¤¯ˆ ¤ÌÌÂÛ·, ̤ۈ ÙÔ˘ Ú˘ıÌÔ‡, ÙÔ˘
ʈÙÈÛÌÔ‡, ÙˆÓ Ú˘ıÌ›ÛÂˆÓ ÙÔ˘ ‰È·ÊÚ¿ÁÌ·ÙÔ˜, ÙˆÓ ÎÈÓ‹ÛˆÓ.
¶ÚÔÙÔ‡ Û˘Ó¯›ÛÔ˘ÌÂ, ı· ‹ıÂÏ· Ó· ˆ οÙÈ
Û¯ÂÙÈο Ì ÙÔ ˙‹ÙËÌ· Ù˘ «Ú·ÁÌ·ÙÈÎfiÙËÙ·˜». ¶Ú·ÁÌ·ÙÈÎfiÙËÙ·… ∏ ¡¤· ÀfiÚÎË ˘¿Ú¯ÂÈ, Â›Ó·È «Ú·ÁÌ·ÙÈ΋». √È ‰ÚfiÌÔÈ ˘¿Ú¯Ô˘Ó. ∆Ô ¯ÈfiÓÈ ¤ÊÙÂÈ. ¢ÂÓ Í¤Úˆ Ò˜, Ì·
˘¿Ú¯ÂÈ. ∞ÎÔÏÔ˘ı› Ê˘ÛÈο ÙË ‰È΋ ÙÔ˘
ÚÔÛˆÈ΋ ÔÚ›·. Ÿˆ˜ ÎÈ Ë §ÈıÔ˘·Ó›·.
∫·È ÙÒÚ·, ÂÌÊ·Ó›˙ÔÌ·È ÂÁÒ. ∫·È Ì ÌÈ· ο-
ECOFILMS
ƒ√¢√™
2006
RODOS
ÌÂÚ·. Ÿˆ˜ ÂÚ·ÙÒ Ì ÙËÓ Î¿ÌÂÚ¿ ÌÔ˘,
οÙÈ ¤ÊÙÂÈ ÛÙÔ ‚ϤÌÌ· ÌÔ˘. ŸÙ·Ó ÂÚȉȷ‚·›Óˆ ÛÙËÓ fiÏË, ‰ÂÓ Ô‰ËÁÒ ÙÔ ‚ϤÌÌ·
ÌÔ˘ Û˘ÓÂȉËÙ¿ ·fi ÙÔ ¤Ó· ÛÙÔ ¿ÏÏÔ. ª¿ÏÏÔÓ ÂÚ·ÙÒ Î·È Ù· Ì¿ÙÈ· ÌÔ˘ Â›Ó·È Û·Ó ·ÓÔȯٿ ·Ú¿ı˘Ú·, Î·È ‚Ϥˆ ‰È¿ÊÔÚ·, ÂÌÊ·Ó›˙ÔÓÙ·È ÌÚÔÛÙ¿ ÌÔ˘ ‰È¿ÊÔÚ·. ∞Ó ·ÎÔ‡Ûˆ οÔÈÔ ıfiÚ˘‚Ô Ê˘ÛÈο, Á˘ÚÓÒ
ÚÔ˜ ÙËÓ Î·Ù‡ı˘ÓÛË ÙÔ˘ ‹¯Ô˘. ∆Ô ·˘Ù› ÂÓÂÚÁÔÔÈÂ›Ù·È Î·È Î·ıÔ‰ËÁ› ÙÔ ‚ϤÌÌ·, ÙÔ
‚ϤÌÌ· ·Ó·˙ËÙ¿ ·˘Ùfi Ô˘ ·Ú¿ÁÂÈ ·˘ÙfiÓ
ÙÔÓ ‹¯Ô. ª· ÙȘ ÂÚÈÛÛfiÙÂÚ˜ ÊÔÚ¤˜ Ù·
Ú¿ÁÌ·Ù· ÚÔ·ÙÔ˘Ó –ÂÈÎfiÓ˜, Ì˘Úˆ‰È¤˜,
‹¯ÔÈ, Î·È ·Ú¯ÂÈÔıÂÙÔ‡ÓÙ·È ÛÙÔ Ì˘·Ïfi ÌÔ˘.
º˘ÛÈο, ÙÔ Ì˘·Ïfi ‰ÂÓ Â›Ó·È ˘ÔÏÔÁÈÛÙ‹˜.
∫·È ¿ÏÈ fï˜, ÏÂÈÙÔ˘ÚÁ› Û·Ó ˘ÔÏÔÁÈÛÙ‹˜
Î·È fi,ÙÈ ÚÔ·ÙÂÈ, ÌÂÙÚȤٷÈ, Û˘Ó‰È·Ï¤ÁÂÙ·È
Ì ÙȘ ÌӋ̘, ÙȘ Ú·ÁÌ·ÙÈÎfiÙËÙ˜ Ô˘ ¤¯Ô˘Ó ηٷ¯ˆÚËı› ÛÙÔ Ì˘·Ïfi, ‹ ÔÔ˘‰‹ÔÙ ·ÏÏÔ‡, Î·È fiÏ· Â›Ó·È Ôχ Ú·ÁÌ·ÙÈο.
∆Ô ‰¤ÓÙÚÔ ÛÙÔ ‰ÚfiÌÔ ·ÔÙÂÏ› Ú·ÁÌ·ÙÈÎfi-
ÙËÙ·. ª· ÂÁÒ Â‰Ò ÙÔ ·ÔÌfiÓˆÛ·, ·Ê·›ÚÂÛ· ÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· Ô˘ ÙÔ ÂÚÈ‚¿ÏÏÂÈ,
Î·È Â¤ÏÂÍ· ÌfiÓÔ ÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ ‰¤ÓÙÚÔ.
∫·È ÙÔ ÎÈÓËÌ·ÙÔÁÚ¿ÊËÛ·. ∫È ·Ó È¿Ûˆ ÙÒ-
Ú·, Ê˘ÛÈο Î·È ÌÔÚ›˜ Ó· ÂȘ οÙÈ ÁÈ· ÙËÓ
fiÏË ·fi Ù· ∏ÌÂÚÔÏfiÁÈ¿ ÌÔ˘ –Ì· ÌfiÓÔ ·ÔÛ·ÛÌ·ÙÈο. ∞ÓÂÍ·Úًو˜ ÙÔ˘ Ò˜ ÎÈÓËÌ·ÙÔÁÚ·ÊÒ, ·ÚÁ¿ ‹ ÁÚ‹ÁÔÚ·, ÙˆÓ Ú˘ıÌ›ÛÂˆÓ ÙÔ˘ ‰È·ÊÚ¿ÁÌ·ÙÔ˜, Ë Ù·ÈÓ›· ·Ó··ÚÈÛÙ¿ ÌÈ· Û˘ÁÎÂÎÚÈ̤ÓË, Ú·ÁÌ·ÙÈ΋, ÈÛÙÔÚÈ΋ ÂÚ›Ô‰Ô. ª· ˆ˜ Û‡ÓÔÏÔ ÂÈÎfiÓˆÓ Ï¤ÂÈ ÂÚÈÛÛfiÙÂÚ· ÁÈ· ÙË ‰È΋ ÌÔ˘ ˘ÔÎÂÈÌÂÓÈ΋
Ú·ÁÌ·ÙÈÎfiÙËÙ·, ÌÔÚ›Ù ӷ ÙËÓ ·ÔηϤÛÂÙ ÙËÓ ·ÓÙÈÎÂÈÌÂÓÈ΋ ÌÔ˘ Ú·ÁÌ·ÙÈÎfiÙËÙ·, ·Ú¿ ÁÈ· οÔÈ· ¿ÏÏË Ú·ÁÌ·ÙÈÎfiÙËÙ·.
ŸÌˆ˜ ÂÁÒ ÌÔÚÒ Ó· ‰Ô˘Ï¤„ˆ Ì ÙȘ ·Ú·Ù˘›Â˜ ÌÔ˘, Ì ÙÔ ‡ÊÔ˜ ÌÔ˘ ÙˆÓ ·ÓÙ›ıÂÙˆÓ
ÂÓÙ¿ÛÂˆÓ ÙÔ˘ ʈÙfi˜, ÌfiÓÔ ÂÊfiÛÔÓ ¤¯ˆ
Ï‹ÚË, ‹ ÙÔ˘Ï¿¯ÈÛÙÔÓ «Ê˘ÛÈÔÏÔÁÈÎfi» ¤ÏÂÁ¯Ô ÙˆÓ ÂÚÁ·Ï›ˆÓ ÌÔ˘. ª· Â‰Ò Ô ¤ÏÂÁ¯Ô˜
¯·ÓfiÙ·Ó. √ ÌfiÓÔ˜ ÙÚfiÔ˜ ÁÈ· Ó· ÙÔ ÂϤÁ͈
‹Ù·Ó Ó· ÙÔ ·ԉ¯ÙÒ Î·È Ó· ÙÔ ¯ÚËÛÈÌÔÔÈ‹Ûˆ ˆ˜ ÎÔÌÌ¿ÙÈ ÙÔ˘ ÙÚfiÔ˘ Ô˘ ÎÈÓËÌ·ÙÔÁÚ·ÊÔ‡Û·. ¡· ¯ÚËÛÈÌÔÔÈ‹Ûˆ ÙȘ ˘ÂÚÂÎı¤ÛÂȘ ˆ˜ ÛÙ›ÍË, ÁÈ· Ó· ·Ôηχ„ˆ ÙËÓ
Ú·ÁÌ·ÙÈÎfiÙËÙ· οو ·fi ¤Ó·, ΢ÚÈÔÏÂÎÙÈο, ‰È·ÊÔÚÂÙÈÎfi ʈ˜, ÁÈ· Ó· ÂÌÔÙ›Ûˆ ÙËÓ
Ú·ÁÌ·ÙÈÎfiÙËÙ· Ì οÔÈ· ·fiÛÙ·ÛË: ÁÈ·
Ó· Û˘ÁÎÂÚ¿Ûˆ ÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ·.
Ú· Ó· ‰ˆ ÙÔ ˘ÏÈÎfi Ô˘ ¤¯ˆ Û˘ÏϤÍÂÈ, ¤¯ˆ
ÌÈ· Û˘ÏÏÔÁ‹ ÔÏÏÒÓ Ù¤ÙÔÈˆÓ ÂÈÏÂÁ̤ӈÓ
ÏÂÙÔÌÂÚÂÈÒÓ, Î·È Û οı ÂÚ›ÙˆÛË ÚԤ΢„·Ó, ‰ÂÓ ÙȘ ·Ó·˙‹ÙËÛ·, Ì Â¤ÏÂÍ·Ó ÎÈ
ÂÁÒ ·ÓÙ¤‰Ú·Û· ·¤Ó·ÓÙ› ÙÔ˘˜, ÁÈ· ¿ÎÚˆ˜
ÚÔÛˆÈÎÔ‡˜ ÌÔ˘ ÏfiÁÔ˘˜. °È’ ·˘Ùfi Û˘Ó‰¤ÔÓÙ·È fiϘ ÌÂٷ͇ ÙÔ˘˜, ÁÈ· ̤ӷ, ÁÈ· ÙÔÓ ¤Ó· ‹ ÙÔÓ ¿ÏÏÔ ÏfiÁÔ. ŸÏ˜ ÛËÌ·›ÓÔ˘Ó Î¿ÙÈ
ÁÈ· ̤ӷ ÎÈ ·˜ ÌËÓ Î·Ù·Ï·‚·›Óˆ ÁÈ·Ù›. ∏ Ù·ÈÓ›· ÌÔ˘ ·ÔÙÂÏ› ÌÈ· Ú·ÁÌ·ÙÈÎfiÙËÙ· Ô˘
¤¯ÂÈ Û˘ÁÎÚÔÙËı› ·fi ̤ӷ ̤ۈ ·˘Ù‹˜ Ù˘
·ÚÎÂÙ¿ ÔχÏÔ΢ ‰È·‰Èηۛ·˜, Î·È Ê˘ÛÈο, Û οÔÈÔÓ Ô˘ ÌÔÚ› Ó· ÙËÓ «·Ó·ÁÓÒÛÂÈ», ÙÔ ˘ÏÈÎfi Ù˘ ϤÂÈ ÔÏÏ¿ ÁÈ· ̤ӷ
–ÂÚÈÛÛfiÙÂÚ· ÁÈ· ̤ӷ ·Ú¿ ÁÈ· ÙËÓ fiÏË
ÛÙËÓ ÔÔ›· Á‡ÚÈÛ· ·˘Ùfi ÙÔ ˘ÏÈÎfi: ‰ÂÓ ‚ϤÂȘ ÙËÓ fiÏË, ‚ϤÂȘ ·˘Ù¤˜ ÙȘ ÂÈÏÂÁ̤Ó˜
ÏÂÙÔ̤ÚÂȘ. °È’ ·˘Ùfi, ·Ó οÔÈÔ˜ ͤÚÂÈ Ò˜
Ó· ÙȘ «·Ó·ÁÓÒÛÂÈ», ·ÎfiÌ· ÎÈ ·Ó ‰ÂÓ Ì ‚ϤÂÈ Ó· ÌÈÏÒ ‹ Ó· ÂÚ·ÙÒ, ÌÔÚ› Ó· ηٷϿ‚ÂÈ Ù· ¿ÓÙ· ÁÈ· ̤ӷ. °È· ÙËÓ fiÏË ÙÒ-
ŸÙ·Ó ‹Á· ÛÙË §ÈıÔ˘·Ó›·, ÌÔ˘ ·Ú·¯ÒÚËÛ·Ó ÌÈ· ÔÌ¿‰· Ù¯ÓÈÎÒÓ Î·È Î¿ÌÂÚ˜, Ô˘
ı· ÌÔÚÔ‡Û· Ó· ›¯· ¯ÚËÛÈÌÔÔÈ‹ÛÂÈ. ª·
‰ÂÓ ÙÔ ¤Î·Ó·. ◊ÍÂÚ· ˆ˜, ·Ó Î·È Ù· Ï¿Ó·
ÙˆÓ Ù¯ÓÈÎÒÓ ˘fi ÙËÓ Î·ıÔ‰‹ÁËÛ‹ ÌÔ˘ ı·
‹Ù·Ó «Î·Ï‡ÙÂÚ·» ·fi Â·ÁÁÂÏÌ·ÙÈ΋˜ ¿Ԅ˘, ı· η٤ÛÙÚÂÊ·Ó ÙÔ ‰ÈÎfi ÌÔ˘ ˙ËÙÔ‡ÌÂÓÔ. ŸÙ·Ó ÂÈÛÙÚ¤ÊÂȘ Û›ÙÈ ÛÔ˘, ÁÈ· ÚÒÙË
ÊÔÚ¿ ‡ÛÙÂÚ· ·fi ÂÈÎÔÛÈ¤ÓÙ ¯ÚfiÓÈ·, ÌÂ
οÔÈÔ ÙÚfiÔ ÁÓˆÚ›˙ÂȘ ˆ˜ Ù· Â›ÛËÌ·
Û˘ÓÂÚÁ›· ‰ÂÓ ¤¯Ô˘Ó ı¤ÛË ÂΛ. °È’ ·˘Ùfi ‰È¿ÏÂÍ· ÙËÓ ªfiÏÂÍ ÌÔ˘.
∞¯ı¿ÓÔÌ·È Î¿ı ›‰Ô˜ Ì˘ÛÙËÚ›Ô˘. ŸÛ· ÂÚÈÛÛfiÙÂÚ· ÌÔÚ›˜ Ó· ÂȘ ÁÈ· ÙÔÓ ÎfiÛÌÔ ÛÙȘ
Ù·Èӛ˜, ÙfiÛÔ ÂÚÈÛÛfiÙÂÚÔ ¯·›ÚÔÌ·È. ™Â fiϘ
ÙȘ ÙÂÏÂ˘Ù·›Â˜ Ù·Èӛ˜ ÌÔ˘, ¯ÚËÛÈÌÔÔÈÒ Ù›ÙÏÔ˘˜ ÁÈ· Ó· ˆ ÙÈ ‚ϤÂÙÂ. ªÔ˘ ·Ú¤ÛÂÈ Ó· Ϥˆ
ÂÎ ÙˆÓ ÚÔÙ¤ÚˆÓ ÙÈ Û˘Ì‚·›ÓÂÈ, ÙÈ ·ÎÔÏÔ˘ı›,
fiÛÔ ÌÔÚÒ ÂÚÈÛÛfiÙÂÚÔ. º˘ÛÈο, ‰ÂÓ ¯ÚÂÈ¿˙ÂÙ·È Ó· Ù· ÂȘ fiÏ·Ø ˘¿Ú¯Ô˘Ó fiÚÈ·.
¢È·‚¿˙ˆ Ôχ ÙÂÏÂ˘Ù·›·. ŒÈ·Û· Ó· ‰È·‚¿Ûˆ ÙÔ ¤ÚÁÔ ÙÔ˘ °Î·›Ù ∆· ¯ÚfiÓÈ· Ù˘ Ì·ıËÙ›·˜ ÙÔ˘ µ›Ï¯ÂÏÌ ª¿ÈÛÙÂÚ, Ì ٷ Ù·Í›‰È· ÙÔ˘.
∆Ô Â›¯· ‰È·‚¿ÛÂÈ ÔÏÏ¿ ¯ÚfiÓÈ· ÚÈÓ. ª· ÙÒÚ·, ¿Ú¯ÈÛ· Ó· ÙÔ ‰È·‚¿˙ˆ Î·È ·¤ÎÙËÛ ¤Ó·
ÂÓÙÂÏÒ˜ ¿ÏÏÔ ÓfiËÌ· ÁÈ· ̤ӷ. ŒÙÛÈ fiˆ˜ Ù·Íȉ‡ÂÈ Ô µ›Ï¯ÂÏÌ Î·È ÁÓˆÚ›˙ÂÈ Î·ÈÓÔ‡ÚÁÈÔ
ÎfiÛÌÔ Î·È ‚ϤÂÈ ·ÏÏÈÒÙÈη ̤ÚË, ¿Ú¯ÈÛ·
Ó· ÛΤÊÙÔÌ·È ÙȘ Ù·Èӛ˜-ËÌÂÚÔÏfiÁÈ¿ ÌÔ˘,
¿Ú¯ÈÛ· Ó· ‚Ϥˆ ÂӉȷʤÚÔÓÙ˜ Û˘Û¯ÂÙÈÛÌÔ‡˜. ∫·È ·˘Ùfi˜ Â›Û˘ Ù·Íȉ‡ÂÈ Û ¿ÏÏ·
̤ÚË Î·È ÁÓˆÚ›˙ÂÈ ÎfiÛÌÔ, ËÁ·›ÓÂÈ Û ÌÔÓ·ÛÙ‹ÚÈ· fiˆ˜ ÎÈ ÂÁÒ ÛÙËÓ ∞˘ÛÙÚ›·. ŸÌˆ˜
·˘Ùfi˜ Ù·Íȉ‡ÂÈ Ì ‰È΋ ÙÔ˘ ÂÈÏÔÁ‹. ∞ÔÊ¿ÛÈÛ ӷ ʇÁÂÈ ·fi ÙÔ Û›ÙÈ ÙÔ˘ Î·È Ó· ‰ÂÈ
ÙÔÓ ÎfiÛÌÔ, Ó· ÁÓˆÚ›ÛÂÈ ‰È¿ÊÔÚÔ˘˜ Ù‡Ô˘˜
·ÓıÚÒˆÓ, Ó· Ì¿ıÂÈ. √ ¶ÂÚÈÏ·ÓÒÌÂÓÔ˜
ÙÔ˘ °Î·›ÙÂ Â›Ó·È ·fi ¤Ó·Ó ¿ÏÏÔ ·ÈÒÓ·. ∆· ‰Èο ÌÔ˘ Ù·Í›‰È· ÂÎÚÔÛˆÔ‡Ó ¤Ó·Ó Ù˘ÈÎfi
¶ÂÚÈÏ·ÓÒÌÂÓÔ ÙˆÓ Ì¤ÛˆÓ ÙÔ˘ ÂÈÎÔÛÙÔ‡
·ÈÒÓ· –Î·È ı· ‚Ú›Ù ٤ÙÔÈÔ˘˜ ¶ÂÚÈÏ·ÓÒÌÂÓÔ˘˜ Û οı ‹ÂÈÚÔ Î·È Û οı ¯ÒÚ·
ÛÙȘ ̤Ú˜ Ì·˜: ¤Ó·˜ ∂ÎÙÔÈṲ̂ÓÔ˜ ÕÓıÚˆÔ˜. √ ∂ÎÙÔÈṲ̂ÓÔ˜ ÕÓıÚˆÔ˜, Ô ∂ÍfiÚÈÛÙÔ˜, ˆ˜ ¶ÂÚÈÏ·ÓÒÌÂÓÔ˜.
∏ ÌfiÓË ‰È·ÊÔÚ¿ ÌÂٷ͇ ÙˆÓ ‰‡Ô Ù·ÍȉȈÙÒÓ Â›Ó·È ÌfiÓÔ ÛÙËÓ ·ÊÂÙËÚ›· ÙÔ˘ Ù·ÍȉÈÔ‡
ÙÔ˘˜. ™ÙËÓ ÚÒÙË ÂÚ›ÙˆÛË, Ô ¤Ó·˜ Û˘ÓÂȉËÙ¿ ·Ó·˙ËÙ¿ οÙÈØ ÛÙË ‰Â‡ÙÂÚË o ¿ÏÏÔ˜ ‰¤¯ÂÙ·È fi,ÙÈ ¤Ú¯ÂÙ·È.
À¿Ú¯ÂÈ Ôχ ¯·Ú¿, ‹ ÂÚÈ·È¯ÙÈ΋ ‰È¿ıÂÛË, ÛÙËÓ Ù·ÈÓ›·. ∂›Ó·È ÈÛÔÚÚÔË̤ÓË, ıˆÚÒ. ∞˘Ùfi Ô˘ Û˘Ì‚·›ÓÂÈ ÛÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ·, Â›Ó·È ˆ˜ Û ÔÏϤ˜ ÂÚÈÙÒÛÂȘ ÛÙËÓ
Ù¤¯ÓË Ë ıÏ›„Ë ÂÍ·Ï›ÊÂÙ·È ˆ˜ ̤ÚÔ˜ ÙˆÓ ·ÓıÚÒÈÓˆÓ ÂÌÂÈÚÈÒÓ, Û·Ó Ó· Â›Ó·È Î¿ÙÈ ÙÔ
Ï¿ıÔ˜. ª· ‰ÂÓ ˘¿Ú¯ÂÈ Î·Ó¤Ó· Ï¿ıÔ˜ ÛÙË
ıÏ›„Ë. ∂›Ó·È ÌÈ· ··Ú·›ÙËÙË, Ô˘ÛÈ·ÛÙÈ΋ ÂÌÂÈÚ›·. ∏ ıÏ›„Ë Â›Ó·È ÌÈ· Ôχ ·ÏËıÈÓ‹
ηٿÛÙ·ÛË. ∆Ë ¯ÚÂÈ·˙fiÌ·ÛÙÂ. ∫·È Ê˘ÛÈο,
·ÊÔ‡ Ë ıÏ›„Ë Û˘Ó‹ıˆ˜ ÏÔÁÔÎÚ›ÓÂÙ·È, fiÔÙ ÙË ‚ϤÂÈ Î·Ó›˜ Û ÌÈ· Ù·ÈÓ›· ıˆÚ›ٷÈ
Ôχ Ï˘ËÙÂÚ‹.
™˘Ì‚Ô˘Ï¤˜ ÁÈ· ¤Ó·Ó ÚˆÙ¿ÚË ÛÎËÓÔı¤ÙË:
1. ªËÓ ÂÌÈÛÙ‡ÂÛ·È Î·Ó¤Ó·Ó ÂÓ ˙ˆ‹ ÛÎËÓÔı¤ÙË. ¡· Û¤‚ÂÛ·È ÙÔ˘˜ ·Ô¯ˆÚ‹Û·ÓÙ˜
ÛÎËÓÔı¤Ù˜.
2. ª·ÎÚÈ¿ ·fi ÙȘ Û˘Ì‚Ô˘Ï¤˜ ÙˆÓ Â·ÁÁÂÏÌ·ÙÈÒÓ ÌÔÓÙ¤Ú. ∂›Ó·È fiÏÔÈ ÙÔ˘˜ «¯·Û¿ˉ˜».¶Ú·ÁÌ·ÙÈο ¯·Û¿ˉ˜, ‰ÂÓ ˘¿Ú¯Ô˘Ó ÌÔÓÙ¤Ú.
3. ∫¿Á¯·˙ ÛÙȘ ÎÚÈÙÈΤ˜ Î·È ÙȘ Û˘Ì‚Ô˘Ï¤˜
ÙˆÓ Â·ÁÁÂÏÌ·ÙÈÒÓ Î¿ÌÂÚ·ÌÂÓ, ÎÔÚfiÈ‰Â˘Â
ÙȘ «ÛˆÛÙ¤˜» ‹ «Î·ÓÔÓÈΤ˜» Ú˘ıÌ›ÛÂȘ ÙÔ˘
‰È·ÊÚ¿ÁÌ·ÙÔ˜, ÂÛÙÈ¿ÛÂȘ.
4. ∞ÁÓfiËÛ ٷ ÛÂÓ¿ÚÈ·. ∞ӷοÙ¢ ÙȘ ÛÂÏ›‰Â˜, fiˆ˜ ¤Î·ÓÂ Ô ŸÚÛÔÓ Ì ÙÔ ÛÂÓ¿ÚÈÔ ÙÔ˘
∞ÚοÓÙÈÓ.
5. ∞Ó·Î¿Ï˘„ ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ÂÎ Ó¤Ô˘,
Ϙ Î·È ‰ÂÓ Â›¯Â Í·Ó·Á›ÓÂÈ ÚÈÓ ·fi Û¤Ó·.
ECOFILMS
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2006
RODOS
169
Experts from a lecture by Jonas Mekas
on Reminiscences of a Journey to Lithuania
Reminiscences falls into the form of a
notebook, or a diary, a form into which
most of my later work seems to fall. I
didn’t have any long stretches of time to
prepare a script, then to take months to
shoot, then to edit, etc. I had only bits of
time which allowed me to shoot only bits
of film. All my personal work became like
notes, I thought I should do whatever I
can today, because if I don’t, I may not find
any other free time for weeks. If I can film
one minute –I film one minute. If I can film
ten seconds –I film ten seconds. I take
what I can, from desperation. But for a
long time I didn’t look at the footage I was
collecting that way. I thought what I was
actually doing was practicing. I was
preparing myself, or trying to keep in
touch with my camera, so that when the
day would come when I’ll have time, then
I would make a "real" film.
As I was looking at that old footage, I
noticed that there were various
connections in it. The footage that I
thought was totally disconnected
suddenly began to look like a notebook
with many uniting threads, even in that
unorganized shape. One thing that struck
me was that there were things in this
footage that kept coming back again and
again. I thought that each time I filmed
something different, I filmed completely
something else. But it wasn’t so. It wasn’t
always "something else". I kept coming
back to the same subjects, the same
images or image sources. Like, for
example, the snow. There is practically no
snow in New York; all my New York
notebooks are filled with snow. Or trees.
How many trees do you see in the streets
of New York? As I was studying this
footage and thinking about it, I became
conscious of the form of a diary film and, of
course, this began to affect my way of
filming, my style. And in a sense it helped
me to gain some peace of mind. I said to
myself: "Fine, very fine –if I don’t have time
to devote six or seven months to making a
film, I won’t break my heart about it; I’ll film
short notes, from day to day, every day."
170
At some time I began to understand that
what was missing from my footage was
myself: my attitude, my thoughts, my
feelings the moment I was looking at the
reality that I was filming. That reality, that
specific detail, in the first place, attracted
my attention because of my memories,
my past. I singled out that specific detail
with my total being, with my total past.
The challenge now is to capture that
reality, that detail, that very objective
physical fragment of reality as closely as
possible to how my Self is seeing it. Of
course, what I faced was the old problem
of all artists: to merge Reality and Self, to
come up with the third thing. I had to
liberate the camera from the tripod, and
to embrace all the subjective film-making
techniques and procedures that were
either already available, or were just
coming into existence. It was an
acceptance and recognition of the
achievements of the avant-garde film of
the last fifty years. It affected my
exposures, movements, the pacing,
everything. I had to throw out the
academic notions of "normal" exposure,
"normal" movement, or normal and
proper this and normal and proper that. I
had to put myself into it, to merge myself
with the reality I was filming, to put myself
into it indirectly, by means of pacing,
lighting, exposures, movements.
Before we go further, I’d like to say
something about this thing of "reality".
Reality… New York is there, it’s "real". The
street is there. The snow is falling. I don’t
know how, but it’s there. It leads its own
life, of course. Same with Lithuania. So,
now, I come into the picture. And with the
camera. As I walk with my camera,
something falls into my eyes. When I walk
through the city, I don’t lead my eyes
consciously from that to that or that.
Rather, I walk and my eyes are like open
windows, and I see things, the things fall
in. If I hear a sound, of course, I look
towards the direction of the sound. The
ear becomes active, and it directs the eye;
the eye is searching for that thing that
ECOFILMS
ƒ√¢√™
2006
RODOS
makes that noise. But most of the time
things keep falling in –images, smells,
sounds, and they are being sorted out in
my head. Some things that fall in strike
some notes maybe with their color, with
what they represent, and I begin to look at
them, I begin to respond to this or that
detail. Of course, the mind is not a
computer. But still, it works something like
a computer, and everything that fall in, is
measured, corresponds to the memories,
to the realities that have been registered
in the brain, or wherever, and it’s all very
real.
The tree in the street is reality. But here, I
singled it out, I eliminated all the other
reality surrounding it, and I picked up only
that specific tree. And I filmed it. And if I
now begin to look through my footage,
that I have collected, I have a collection of
many such singled-out details, and in each
case they fell in, I didn’t seek them out,
they chose me, and I reacted to them, for
very personal reasons, and that’s why they
all tie in together, for me, for one or
another reason. They all mean something
to me, even if I don’t understand why. My
film is a reality that is sorted out through
me by ways of this very complex process,
and, of course, to one who can "read" it,
this footage tells a lot about me –actually,
more about me than about the city in
which I film this footage: you don’t see the
city, you see only these singled-out
details. Therefore, if one knows how to
"read" them, even if one doesn’t see me
speaking or walking, one can tell
everything about me. As far as the city
goes, of course, you could say something
also about the city, from my Diaries –but
only in fragments. No matter how I film,
fast or slow, how I expose, the film
represents a certain actual, historical
period. But as a group of images, it tells
more about my own subjective reality, or
you call it my objective reality, than any
other reality.
But I can work within my irregularities,
within my style of clashing light values,
only when I have complete control, or at
least "normal" control over my tools. But
here that control was slipping. The only
way to control it was to embrace it and
use it as part of my way of filming. To use
the over-exposures as punctuations; to
use them in order to reveal reality in,
literally, a different light; to use them in
order to imbue reality with a certain
distance: to compound reality.
When I went to Lithuania, I was offered a
team of cameramen, and cameras, and I
could have used them. But I didn’t. I knew
that, although the images recorded by
these technicians, following my
instructions, would have been "better"
professionally, they would have destroyed
the very subject I was going after. When
you go home, for the first time in twentyfive years, you know, somehow, that the
official crews just do not belong there.
Thus I chose my Bolex.
There is much joy, or playfulness in the
film. It’s balanced, I think. What it is, really,
is that in most cases, in art, sadness is
eliminated as part of human experience,
as if there were something wrong with it.
But there is nothing wrong with sadness.
It’s a necessary, essential experience.
Sadness is a state that is very real. We
need it. And, of course, since sadness is
usually censored, when one sees it in a
film theÓ they think it’s too sad.
I dislike any kind of mystery. The more I
can tell about the people in my films the
happier I am. In all my later films, I use
titles to tell what you see. I like to tell in
advance what it is, what’s coming, as
much as I can. Of course, there is no need
to tell everything; there are limits.
I have been doing a lot of reading, lately. I
picked up Goethe’s Wilhelm Meisters
Wanderjahre, his traveling years. I had
read it years and years ago. But now; I
started reading it, and it had a completely
different meaning to me. As Wilhelm
travels and meets different people, and
sees different places, I started thinking
about my film diaries, I began seeing
interesting connections. He also visits
places and meets people, goes to
monasteries, like myself in Austria. But he
travels by his own choice. He decided to
leave his home and see the world, to meet
different varieties of people, to learn.
Goethe’s Wanderer is from a different
century. My travels represent one typical
Wanderer of the mid-twentieth century
–and you will find this Traveler in every
continent and every country, today: a
Displaced Person. The Displaced Person,
the Exile, as Traveler.
The real difference between these two
travelers is only in the beginnings of their
journey. In the first case, one is
consciously seeking, looking for
something; in the second case, one takes
what comes.
A few advices to a beginning filmmaker:
1. Mistrust every living filmmaker; respect
the dead ones.
2. Stay away from the advices of all
professional editors. They are all "cutters".
Literally cutters: there are no editors.
3. Snarl at the criticism and advices of
professional cameramen, laugh at "right"
or "proper" exposures, focus.
4. Ignore scripts. Shuffle pages around, like
Orson did with the script of Arkadin.
5. Invent cinema from the beginning, as if
nobody had done it before you.
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2006
RODOS
171
ƒO¢O™ 1956-1988
·fi ÙËÓ ∆·ÈÓÈÔı‹ÎË ÙˆÓ °.°. ∂ÈÎÔÈÓˆÓ›·˜ Î·È ∂ÓË̤ڈÛ˘
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Î·È ÙÔ˘˜ Ôϛ٘.
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fiˆ˜ ·ÎÚÈ‚Ò˜ ÙÔ ‚ϤÂÈ Ô ÈÛÙÔÚÈÎfi˜ ÂÚ¢ÓËÙ‹˜. ∂ÎÙÈÌ‹Û·Ì ˆ˜ Ë
·Ô˘Û›· ÔÔÈ·Û‰‹ÔÙ Â¤Ì‚·Û˘ ı· ¿ÊËÓ ·Ó·ÏÏÔ›ˆÙË ÙË ‰˘Ó·ÙfiÙËÙ· «·Ó¿ÁÓˆÛ‹˜» ÙÔ˘˜ Î·È ı· ¤‰ÈÓ ÙËÓ Â˘Î·ÈÚ›· ÛÙÔ ÔÏ›ÙËı·ً, ·Ó·ÊÔÚÈο Ì ̛· ȉÂÔÏÔÁÈ΋ ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ÁÚ·Ê‹, fiˆ˜ ·˘Ù‹ ÙÔ˘ Istituto Luce, Ó· ·ÔÎÔÌ›ÛÂÈ Ù· ÚÔÛˆÈο ÙÔ˘ Û˘ÌÂÚ¿ÛÌ·Ù·,
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Â›Ó·È ·ÓÔÌÔÈÔÁÂÓ¤˜ ȉÂÔÏÔÁÈο Î·È Ù¯ÓÈο. ∏ ·Ó¿ÁÎË ÂÈÏÔÁ‹˜ ηÈ
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·Ó·fiÊ¢ÎÙ· ÙË ÛÊÚ·Á›‰· Ù˘ ȉÂÔÏÔÁÈ΋˜ Â¤Ì‚·Û˘.
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ηÓ›˜, ÔÙÈο Î·È ·ÎÔ˘ÛÙÈο, ÙÔ ¤Ú·ÛÌ· Ù˘ ηٷÁÚ·Ê‹˜ ·fi ÙËÓ
ÚÔ·Á¿Ó‰· ÛÙË Ì·ÚÙ˘Ú›·.
°È· ÙÔ ·ÊȤڈ̷ ·˘Ùfi ı¤ÏÔ˘Ì ӷ ¢¯·ÚÈÛÙ‹ÛÔ˘Ì ıÂÚÌ¿ ÙȘ °ÂÓÈΤ˜ °Ú·ÌÌ·Ù›˜ ∂ÈÎÔÈÓˆÓ›·˜ Î·È ∂ÓË̤ڈÛ˘ ÁÈ· ÙËÓ ¿ÌÂÛË Î·È
Ô˘ÛÈ·ÛÙÈ΋ ÙÔ˘˜ Û˘ÓÂÚÁ·Û›· Î·È È‰È·›ÙÂÚ· ÙȘ Î. ª. ¶··‰¿-ÃÂÈ̈ӿ Î·È ∞. ÃÚÈÛÙÔÔ‡ÏÔ˘ ηıÒ˜ Î·È ÙÔ˘˜ Ù¯ÓÈÎÔ‡˜ Ù˘ ∆·ÈÓÈÔı‹Î˘
Ã. ƒÔ‡ÓÈÔ Î·È Ã. £ÂÔ¯¿ÚË Ô˘ ·ÁοÏÈ·Û·Ó Ì ı¤ÚÌË Î·È ÂӉȷʤÚÔÓ ·˘Ù‹ ÙË ÚÔÛ¿ıÂÈ·.
µ·Û›Ï˘ §ÂÔÓÙÈ¿‰Ë˜
¡›ÎÔ˜ ¡ÈÎÔÏ·˚‰Ë˜
172
ECOFILMS
ƒ√¢√™
2006
RODOS
RODOS 1956-1988
from the Cinematheque of the General Secretariats
of Communication and Information
The Ecofilms international festival is an attentive eye that
"watches" –sometimes in agony, sometimes with a smile- over the
whole world and the film selection proves this. But it is also closely
bound to Rodos and its citizens that embrace it each year with
generosity and anticipation. As a small retribution to this
relationship, we are trying to build the audiovisual memoirs of the
history of Rodos and the Dodecanese during the 20th century
through greek and foreign archives: memories of celebrations,
landscapes, urban changes, peoples’ memories, so that they will
become easily accessible to researchers and citizens.
The tribute "Rodos 1956-1988, from the Cinematheque of the
General Secretariats of Communication and Information"
continues our research that started in 2003 with the archives of
Istituto Luce on the period of the Italian occupation that cover
much of the city’s and island’s modern history. The public’s
interest Èn documentaries and historical archives has significantly
increased in recent years, resulting to a greater ability of
perception, judgment and taking sides in history. During previous
screenings we presented all of the audiovisual material available
without any interventions, in precise chronological order, "rough",
with its repetitions and double-takes, exactly as a historian sees it.
We thought that the lack of any kind of intervention would
prevent any alterations to the perception of this material, thus
giving the citizen-spectator the chance to make his own personal
conclusions, based on ideologically driven filmmaking as in
Istituto Luce’s material.
For 2006 we are presenting about 25 minutes of footage taken in
Rodos for various reasons by greeks and foreigners: promotion of
tourism, celebrations and anniversaries, conventions and events,
resulting to the ideological and technical dissimilarities of the
footage available. The necessity of selection and compilation of
the material available –that exceeds 90 minutes- inevitably bares
the seal of ideological intervention.
The touristy "postcard" takes of Rodos function as memoirs of the
urban development of the city and its suburban landscapes
concern all of us: the city that was and the city that is. They remind
us how the tourist image of the island was built, with words and
images that may be of use again. In our selection we insisted on
the celebrations of the Reunification, from 1968 to 1978, because
in just a few minutes one understands, both audibly and visually,
the passage in documentation from propaganda to testimony.
For this tribute we would like to heartily thank the General
Secretariats of Communication and Information for their
immediate and essential cooperation and especially Mrs. M.
Papada-Chimona and A. Christopoulou as well as the technical
staff of the Cinematheque, Ch. Rounio and Ch. Theochari that
embraced this effort with all their warmth and interest.
Vassilis Leontiadis
Nikos Nikolaidis
ECOFILMS
ƒ√¢√™
2006
RODOS
173
E˘ÚÂÙ‹ÚÈÔ ÛÎËÓÔıÂÙÒÓ
Directors index
Aardenburg Mark
Aigner Kathy
Alaveras Philipos
Ananiadis Jordan
Andrade Arreaza Marcelo
Ansaldi Paolo
Arash
Barzilay Erez T Yanuv
Bax Maarten
Berends Andrew
Bergdahl Gunnar
Berry Frank
Bruno Ellen
Bucchetti Anna Maria
Carcanade Pascal
Cekic Dusan
Chang Mandy
Chaplinsky Svyatoslav
Cibien Laurent
Contis Angelike
Dahm Hjalmar
de Beijer Evert
de Jesus Sherman
de Kermedec Liliane
de los Santos David Martin
Diamandis Theodoros
Dimellas Manlis
Ditsas Menios
Djuknic Milorad
Dufriche Delphine
Elings Albert
Ernst Holger
Faigle Konstantin
Fatouros Aris
Fellous Pascal
Ferhati Jillali
Filipeos Yorgos
Fojkar Oliver
Frei Christian
Friedman Peter
Gasparini Luca
Gertten Fredrik
Geyrhalter Nikolaus
Gonzalez Sitges Fernando
Hadzic Ermin
Hart Amy
Helgestad Asgeir
76
148
151
89
155
102
52
44
98
149
32
148
106
24
80
30
134
126
80
98
85
88
151
158
74
150
151
160
100
155
114
132
30
160
142
36
150
130
150
34
22
78
156, 157
60, 70
122
120
87
174
Hermele Bernt
Henriquez Ana Cristina
∏ill Sophie
Hrustic Nisvet
Jacoby Amram
Jansen Eugenie
Jensen Helle Toft
Karakassis Christos N.
Kemezys Algis
Kolozis Giorgos
Kopana Dionysia
Koutsikas Nikos
Kovotsos Angelos
Kraounakis Stelios
Kuhn Nadine
Kusserow Raimund
Latsoudi Efi
Malevez Jara
Manic Alexandar
Manley Roger
Mansour Carol
Marecek Martin
Mekas Jonas
Mousavi Azam
Neisi Majed
Ofori Ruby
Otterstad Evald
Papakonstantinou Yorgos
Papathanasiou Nikos
Pastrikos Yannis
Patroni Katerina
Pergolizzi Vincenzo
Perovic Vladimir
Pinheiro Cristina
Prado Marcos
Psillakis Stavros
Raftogiannis Haris
Ragris Gille
Ramseier Peter
Reichle Franz
Rompre Steve
Rosenbaum Bjorn
Saha Pradip
Salapatas Panayiotis
Salazar Ovidio
Samra Maher Abi
Saywell Shelley
ECOFILMS
ƒ√¢√™
2006
RODOS
66
116
149
91
38
92, 114
56
153
154
152
152
138
152
85
120
149
85
64
40
34
128
42
164-171
84
99
48
50
158
62
151
156
103
158
97
28
159
154
138
154
153, 159
105
136
144
93
20
72
54
Scott Edward
Scucato Andre
Seferiadou Penny
Siegel Taggart
Skiba Malgorzata
Snow Sasha
Soto Julio
Soylemez Belmin
Stefanov Ljubomir
Stehberg Ilan
Stultiens Jeroen
Szekeres Csaba
Theodoridis Menis
Theodosiou Nikos
Topaloglu Hasmet
Torok Zoltan
Vakros Gerasimos
Vosgeraou Irina
Wagenhofer Erwin
Weber Eva
Westerlaak Hans van
Wijk Joop van
Winocour Alice
Wooldrik Bas
Worcester Tracy
Wright Joanna
Xirou Efi
Young Greg
Zwart Eva
48
97
112
157
90
149
68
94, 148
101
104
155
107
160
153
94
110
86
159
161
95
124
26
96
58
150, 157
118
156
148
124
ecofilms06
RODOS INTERNATIONAL FILM AND VISUAL ARTS FESTIVAL
¢π∂£¡∂™ º∂™∆πµ∞§ ∫π¡∏ª∞∆√°ƒ∞º√À ∫∞π ∂π∫∞™∆π∫ø¡ ∆∂áø¡ ƒ√¢√À
ÃÚ‹ÛÈÌ· ∆ËϤʈӷUseful Phones
¢ËÌ·Ú¯Â›Ô ƒfi‰Ô˘Municipality of Rhodes
∞ÛÙ˘ÓÔÌ›·Police
∆Ô˘ÚÈÛÙÈ΋ ∞ÛÙ˘ÓÔÌ›·Tourist Police
¡ÔÛÔÎÔÌÂ›Ô ƒfi‰Ô˘Rhodes Hospital
°Ú·ÊÂ›Ô ∆Ô˘ÚÈÛÌÔ‡ ƒfi‰Ô˘Rhodes Tourist Office
§ÈÌÂÓ·Ú¯Â›Ô ƒfi‰Ô˘Rhodes Port Authority
¢ÈÂıÓ¤˜ ∞ÂÚÔ‰ÚfiÌÈÔ ƒfi‰Ô˘ «¢È·ÁfiÚ·˜»
“Diagoras” Rhodes International Airport
√Ï˘Ìȷ΋ ∞ÂÚÔÔÚ›·Olympic Airways
Aegean Airlines
§ÂˆÊÔÚ›· ·Ó·ÙÔÏÈ΋˜ ·ÎÙ‹˜East Coast buses
§ÂˆÊÔÚ›· ‰˘ÙÈ΋˜ ·ÎÙ‹˜West Coast buses
∆·Í›Taxis
+30 22410 46200
+30 22410 23849
+30 22410 27423
+30 22410 80000
+30 22410 44111
+30 22410 44335
+30 22410 23655
+30 22410 22220
+30 22410 28666
+30 22410 88700
+30 22410 24571/5
+30 801 1120000
+30 22410 24129
+30 22410 27706
+30 22410 27666
+30 22410 64712
+30 22410 64734
+30 22410 64790
+30 22410 64778
+30 22410 64756
¢ËÌÔÙÈÎfi £¤·ÙÚÔMunicipal Theater
∫ÈÓËÌ·ÙÔı¤·ÙÚÔ «ƒfi‰ÔÓ»Movie Theater “Rodon”
¶Ï·Ù›· ∂Ï¢ıÂÚ›·˜Eleftherias square
++30 22410 28823
∆·ÍȉȈÙÈο °Ú·Ê›·Travel Agencies
Contours, ∞ÌÌÔ¯ÒÛÙÔ˘ 9, ƒfi‰Ô˜ ∆∫ 85100
Contours, 9 Ammohostou str., Rhodes 85100
Greece
Tel: ++30 22410 36001, 79023
Email: [email protected]
RED Restaurant
ªÂÛÔÁÂȷ΋ ∫Ô˘˙›Ó·
15f-35f ÙÔ ¿ÙÔÌÔ
°. ¶··ÓÈÎÔÏ¿Ô˘ 25
(‰ÚfiÌÔ˜ ÙÔ˘ ∫·˙›ÓÔ˘)
ŒÎÙˆÛË 10% Â› ÙˆÓ ÙÈÌÒÓ ÙÔ˘
ηٷÏfiÁÔ˘
∆ËÏ. 2241030377
RED Restaurant
Mediterranean Cuisine
15f-35f per person
25, G Papanikolaou Str.
( the street by the Cazino)
Reduced prices 10% on
catalogue’s prices
Tel. 2241030377
Restaurant OLIVE
¶Ï. °·‚Ú. ÷ڛÙÔ˘ 7
∂ÏÏËÓÈ΋ ¶·Ú·‰ÔÛȷ΋ ÎÔ˘˙›Ó·
ª·ÁÂÈÚÂ˘Ù¿-æËÙ¿
10f-30f ÙÔ ¿ÙÔÌÔ
ŒÎÙˆÛË 10% Â› ÙˆÓ ÙÈÌÒÓ
ηٷÏfiÁÔ˘
∆ËÏ. 2241038511
Restaurant OLIVE
7, Sq. Gavr. Haritou
Greek Traditional cuisine, CookedGrilled
10f-30f per person
Reduced prices 10% on
catalogue’s prices
Tel. 2241038511
Restaurant ™∆∂ƒ°√™ CORNER
∂ÏÏËÓÈ΋ Î·È ∂˘Úˆ·˚΋ ∫Ô˘˙›Ó·
™ˆÎÚ¿ÙÔ˘˜ 111 – ¶·ÏÈ¿ ¶fiÏË
8f – 20f ÙÔ ¿ÙÔÌÔ
ŒÎÙˆÛË 10% Â› ÙˆÓ ÙÈÌÒÓ
ηٷÏfiÁÔ˘
∆ËÏ. 2241025138
Restaurant STERGOS CORNER
Greek and European cuisine
111, Sokratous- Old Town
8f-20f per person
Reduced prices 10% on
catalogue’s prices
Tel. 2241025138
∆·‚¤ÚÓ· µ∞™π§∏™
™ÔÊÔÎÏ¤Ô˘˜ 16, ¶·ÏÈ¿ ¶fiÏË
∂ÏÏËÓÈ΋ ∫Ô˘˙›Ó· (ÎÚ¤·˜ „¿ÚÈ)
10f-50f ÙÔ ¿ÙÔÌÔ
ŒÎÙˆÛË 10% Â› ÙˆÓ ÙÈÌÒÓ
ηٷÏfiÁÔ˘
∆ËÏ. 2241029968
Tavern VASILIS
16, Sofokleous, Old Town
Greek cuisine(meat fish)
10f-50f per person
Reduced prices 10% on
catalogue’s prices
Tel. 2241029968
¶·Ú·‰ÔÛÈ·Îfi˜ ∫·ÊÂÓ¤˜ ∫√À∫√™
ªÔ˘ÛÈ΋, ÎÚ·Û›, ÌÂ˙¤‰Â˜
ª·Ó‰ËÏ·Ú¿ 20-26 ¡ÈÔ¯ÒÚÈ
2f-16f ÙÔ ¿ÙÔÌÔ
ŒÎÙˆÛË 10% Â› ÙˆÓ ÙÈÌÒÓ ÙÔ˘
ηٷÏfiÁÔ˘
∆ËÏ. 2241073022
Traditional Coffee House
KOUKOS
Music, wine, finger food
Mandilara 20-26 Niochori
2f-16f per person
Reduced prices 10% on
catalogue’s prices
Tel. 22241073022
ECOFILMS
ƒ√¢√™
2006
RODOS
175
∂∆∞πƒ∂π∞ «∂π∫√¡∞ & ¶∂ƒπµ∞§§√¡»
“IMAGE & ENVIRONMENT” SOCIETY
™‡ÚÔ˜ ∫Ô˘‚¤Ï˘ / Spyros Kouvelis
§Ô˘Î›· ƒÈοÎË / Lucia Rikaki
¡›ÎÔ˜ ¡ÈÎÔÏ·˝‰Ë˜ / Nikos Nikolaidis
∫ÔÚ·Ï›· °ÂˆÚÁ·ÎÔÔ‡ÏÔ˘ / Koralia Georgakopoulou
µ·Û›Ï˘ §ÂÔÓÙÈ¿‰Ë˜ / Vasilis Leontiadis
¡ÈÎfiÏ·Ô˜ ™È‰¤Ú˘ / Nikolas Sideris
ÕÚÙÂÌȘ-AÓÓ· ∑ÂÓ¤ÙÔ˘ / Artemis Anna Zenetou
∫∞∆∞§√°√™ CATALOGUE
™‡ÓÙ·ÍË Î·Ù·ÏfiÁÔ˘, Û˘ÓÙÔÓÈÛÌfi˜ ‡Ï˘, ÌÂÙ·ÊÚ¿ÛÂȘ
Catalogue Editors, Coordination, Translations:
¡›ÎÔ˜ ¡ÈÎÔÏ·˝‰Ë˜, ¢ËÌ‹ÙÚ˘ ¢ËÌfiÔ˘ÏÔ˜, ¶¿ÙÚ· ™·ÓÔ‡
Nikos Nikolaidis, Dimitris Dimopoulos, Patra Spanou
ºˆÙÔÁÚ·Ê›· Â͈ʇÏÏÔ˘ / Cover photo:
§Ô˘Î›· ƒÈοÎË / Lucia Rikaki
∫·ÏÏÈÙ¯ÓÈ΋ ÂÈ̤ÏÂÈ· / Art Direction:
∫ÒÛÙ·˜ ªÔ˘ÁÎÔÁÈ¿ÓÓ˘ / Costas Mougogiannis
∂ÎÙ‡ˆÛË / Printed by: µÈ‚ÏÈÔÛ˘ÓÂÚÁ·ÙÈ΋ / Bibliosynergatiki
∞ºπ∂ƒøª∞∆∞ TRIBUTES:
°π√¡∞™ ª∂∫∞™ / JONAS MEKAS: §Ô˘Î›· ƒÈοÎË / Lucia Rikaki
∏ ƒ√¢√™ 1956-1988 ÛÙ· ÂÏÏËÓÈο Â›Î·ÈÚ·
RODOS 1956-1988 from the greek audiovisual archives:
¡›ÎÔ˜ ¡ÈÎÔÏ·˝‰Ë˜, µ·Û›Ï˘ §ÂÔÓÙÈ¿‰Ë˜
Nikos Nikolaidis, Vasilis Leontiadis
ºø∆√°ƒ∞ºπ∫∏ ∂∫£∂™∏ ∂¢∂ª: À°ƒ√∆√¶√π ∆∏™ ª∂™√¶√∆∞ªπ∞™
PHOTO EXHIBITION EDEN: MARSHLANDS OF MESSOPOTAMIA:
™‡ÚÔ˜ ∫Ô˘‚¤Ï˘, ™ÔÊ›· ™‡ÚÔ˘, ¶fiÏÏ˘ ÷Ù˙ËÌ¿ÚÎÔ˘
Spyros Kouvelis, Sofia Spirou, Polly Xatzimarkou
°πø∆∏™ ¶∞¶∞£∞¡∞™∏™ / YIOTIS PAPATHANASSIS:
§Ô˘Î›· ƒÈοÎË, °È¿ÓÓ˘ ¡Ù·Ú›‰Ë˜ / Lucia Rikaki, Yannis Daridis
∂¶π∆∂§∂π√ º∂™∆πµ∞§ ∞£∏¡∞ FESTIVAL STAFF ATHENS
¶Úfi‰ÚÔ˜ "∂π∫√¡∞ & ¶∂ƒπµ∞§§√¡"
President of "Image & Environment" Society
™‡ÚÔ˜ ∫Ô˘‚¤Ï˘ / Spyros Kouvelis
∫·ÏÏÈÙ¯ÓÈ΋ ¢È‡ı˘ÓÛË / Artistic Director
§Ô˘Î›· ƒÈοÎË / Lucia Rikaki
°ÂÓÈÎfi˜ ™˘ÓÙÔÓÈÛÌfi˜ & √ÚÁ¿ÓˆÛË / General Coordination & Organization
¡›ÎÔ˜ ¡ÈÎÔÏ·˝‰Ë˜ / Nikos Nikolaidis
°Ú·ÌÌ·Ù›· & À‡ı˘ÓË ºÈÏÔÍÂÓ›·˜
Secretariat & Hospitality Coordinator
Laurien ten Houten
°ÂÓÈ΋ ˘ÔÛÙ‹ÚÈÍË Î·È ™˘ÓÙÔÓÈÛÌfi˜ / Support and Coordination
¢ËÌ‹ÙÚ˘ ¢ËÌfiÔ˘ÏÔ˜, ¶¿ÙÚ· ™·ÓÔ‡
Dimitris Dimopoulos, Patra Spanou
°Ú·ÊÂ›Ô ∆‡Ô˘ / Press Office ¶·‡ÏÔ˜ ªÂıÂÓ›Ù˘ / Paul Methenitis
¢ÈÎÙ˘·Îfi˜ ∆fiÔ˜ / Website ¡›ÎÔ˜ ¡ÈÎÔÏ·˚‰Ë˜ / Nikos Nikolaidis
ªÂÙ¿ÊÚ·ÛË Ù·ÈÓÈÒÓ / Translations of the films
ŒÊË ∫·ÏÏÈÊ·Ù›‰Ë, ª·Ú›Ó· ¢‹ÌËÙÚ·
Efi Kallifatidi, Marina Dimitra
ÀÔÙÈÙÏÈÛÌfi˜ / Subtitles Storyteller
TV Spot °È¿ÓÓ˘ NÙ·Ú›‰Ë˜ / Yannis Daridis
176
ECOFILMS
ƒ√¢√™
2006
RODOS
¢È·Î›ÓËÛË ∆·ÈÓÈÒÓ / Print Traffic
¢¿Ó˘ ∫fiÎÎÈÓÔ˜ / Danis Kokkinos
¶ÚÔ‚ÔÏ‹ ∆·ÈÓÈÒÓ / Screenings
Õ΢ ™Ù·˘ÚfiÔ˘ÏÔ˜ / Akis Stavropoulos
∂¶π∆∂§∂π√ º∂™∆πµ∞§ ƒ√¢√™ FESTIVAL STAFF RODOS
¶ÔÏÈÙÈÛÙÈÎfi˜ √ÚÁ·ÓÈÛÌfi˜ ¢‹ÌÔ˘ ƒÔ‰›ˆÓ
Cultural Organization of the Municipality of Rodos
ª·ÓÒÏ˘ ∞ÓÙÒÓÔÁÏÔ˘ / Manolis Antonoglou
¢È¢ı˘ÓÙ‹˜ ¶ÔÏÈÙÈÛÙÈÎÔ‡ √ÚÁ·ÓÈÛÌÔ‡ ¢‹ÌÔ˘ ƒÔ‰›ˆÓ
Director of Cultural Organization of the Municipality of Rodos
º›ÏÈÔ˜ ¶··ÓÈÎÔÏ¿Ô˘ / Filippos Papanikolaou
™˘ÓÙÔÓÈÛÌfi˜ / Coordination ¢Èη›· ÷ڛÙÔ˘ / Dikea Charitou
∆¯ÓÈÎfi˜ ¶ÚÔ‚ÔÏ‹˜ /Projection Engineer
™Ù·Ì¿Ù˘ ∞Áο˜ / Stamatis Agas
∏¯ËÙÈ΋ Î¿Ï˘„Ë/ Sound Engineer
§¿ÏÔ˜ ™Ù·Ì·ÙÈ¿‰Ë˜ / Lalos Stamatiadis
°Ú·ÊÂ›Ô ∆·Íȉ›ˆÓ / Travel Agency Contours RodÔs
ª∂ ∆∏ µ√∏£∂π∞ ∫∞π ∆∏ ™À¡∂ƒ°∞™π∞
WITH THE HELP AND SUPPORT OF
¢È¢ı˘ÓÙ‹˜ √ÚÁ·ÓÈÛÌÔ‡ ¶ÚÔÒıËÛ˘ ƒÔ‰È·ÎÔ‡ ∆Ô˘ÚÈÛÌÔ‡ ¶ƒ√∆√Àƒ
Director of Rodos Tourism Promotional Organization
÷ڿϷÌÔ˜ ¶·ÏÔÁÈ·ÓÓ›‰Ë˜ / Charalambos Palogiannidis
¢È¢ı˘ÓÙ‹˜ ¢ËÌÔÙÈÎÔ‡ √ÚÁ·ÓÈÛÌÔ‡ ¶ÂÚÈ‚¿ÏÏÔÓÙÔ˜ ¢‹ÌÔ˘ ƒÔ‰›ˆÓ
Director of Municipality Environmental Organization of the city of Rodos
ªÈ¯¿Ï˘ ∫·˚΢ / Michalis Kaikis
¢È¢ı˘ÓÙ‹˜ ¢ËÌÔÙÈ΋˜ ∂ȯ›ÚËÛ˘ ∫·ı·ÚÈÛÌÔ‡ ¢‹ÌÔ˘ ƒÔ‰›ˆÓ
Director of Municipal Company of Solid Waste Management
of the city of Rodos
°ÈÒÚÁÔ˜ À„ËÏ¿ÓÙ˘ / Giorgos Ypsilantis
√ÈÎÔÓÔÌÈÎfi˜ À‡ı˘ÓÔ˜ ¶ÔÏÈÙÈÛÙÈÎÔ‡ √ÚÁ·ÓÈÛÌÔ‡ ƒÔ‰›ˆÓ
Financial Manager of the Cultural Organization
of the Municipality of RodÔs
°ÈÒÚÁÔ˜ ∞Ú‚·Ó›Ù˘ / Giorgos Arvanitis
√ÈÎÔÓÔÌÈÎfi˜ À‡ı˘ÓÔ˜ ¢‹ÌÔ˘ ƒÔ‰›ˆÓ
Financial Manager of the Municipality of RodÔs
ª¿ÚÎÔ˜ ∫Ô˘Êfi˜ / Markos Koufos
¡ÂÎÙ¿ÚÈÔ˜ ™·ÓÙÔÚÈÓÈfi˜, µ¿Ûˆ ∫·Ú˘‰¿ÎË, ÕÓÙ· ∫·Ú·ÁÈ¿ÓÓË,
§¿˙·ÚÔ˜ ∆·Á·ÚÔ‡ÏÈ·˜ / Nektarios Santorinios, Vaso Karidaki,
Anda Karagianni, Lazaros Tagaroulias
ECOFILMS FESTIVAL
πÔÎÚ¿ÙÔ˘˜ 31, 10680 ∞ı‹Ó·
31 Ipokratous str, 10680 Athens, Greece
Tel, Fax: +30 2103636390
Email: [email protected]
www.ecofilms.gr